f 


>'  L.>  r. 


|g$| 


\ Of  $ \ 

Vi  H'-iX  Vt  JSrjmx 

\\^t  W.  P- « 

ffiy.1 

|C{  IW 

.IB  1 te  fW 

kyA£**  "'  ■ 

g_  «’»**/ 

ft  /f 

Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/englishartin188400blac 


English  Art 

in 


rv 


CONSULTING  THE  ORACLE. 
J.  W.  Waterhouse. 


English  Art 

IN 

I 884 

ILLUSTRATED 

BY  FACSIMILE  SKETCHES  BY  THE  ARTISTS, 

AND  FOURTEEN  FULL-PAGE  PHOTO-ENGRAVINGS 


EDITED  BY 

HENRY  BLACKBURN 

EDITOR  OF  “ACADEMY  NOTES;”  LECTURER  ON  ART;  AUTHOR  OF  “BRETON  FOLK;”  “NORMANDY  PICTURESQUE;” 

“ARTISTS  AND  ARABS,”  ETC. 


NEW  YORK 

D.  APPLETON  AND  COMPANY 

I,  3,  AND  5 BOND  STREET 

I 885 


COPYRIGHT,  1884 

By  D.  APPLETON  AND  COMPANY 


No.  389.  “ The  Herring-Market  at  Sea."  Colin  Hunter. 


PREFACE. 


The  art  of  England,  as  represented  in  painting,  water-colors,  and 
sculpture,  is  so  full  of  activity  and  resource,  that  it  has  been  thought 
desirable  to  gather  into  one  compendious  volume  an  indication  of  the 
work  of  a year. 

In  the  galleries  containing  new  pictures,  there  have  been  exhibited 
in  London  alone,  during  the  past  year,  upward  of  five  thousand  works. 
Of  these,  nearly  four  hundred  are  sketched  in  this  volume,  generally 
by  the  artists  themselves.  They  have  been  selected  from  the  exhibi- 
tions of  the  Royal  Academy,  the  Grosvenor  Gallery,  the  Institute  of 
Oil-Painters,  and  the  Water-Color  Societies.  Should  the  plan  be  pur- 
sued another  year,  other  galleries  will  be  included. 

The  majority  of  English  pictures  pass  annually  into  private  hands, 
and  the  American  public  would  hardly  be  aware  of  their  existence, 


VI 


Preface. 


were  it  not  for  the  publication  of  engravings  and  etchings.  But  no 
engravings  or  etchings  could  keep  pace  with  the  art  activity  of  Eng- 
land,* and  it  became  necessary  to  devise  some  simple  means  of  pre- 
senting to  the  public  an  indication,  or  outline,  of  the  art  of  the  year. 

It  is  maintained  by  some  writers  that  the  English  school  of  paint- 
ing is,  at  the  present  time,  the  first  in  the  world ; that  there  is  a 
wider  measure  of  success  among  its  foremost  men,  and  more  individu- 
ality and  interest  in  the  work  of  the  younger,  than  in  any  other 

school.  Certainly,  as  regards  portraiture,  the  country  of  Gainsborough 
and  Reynolds  would  seem  to  be  again  first  in  the  field  ; and,  in  land- 
scape, the  country  of  Turner  and  David  Cox  is  producing  work  from 
which  foreign  countries  derive  much  of  their  inspiration. 

It  is  not  the  purpose  of  this  publication,  which  should  be  more 

descriptive  than  critical,  to  discuss  the  comparative  merits  of  modern 
schools,  but  rather  to  direct  attention  to  a powerful  factor  in  “ the 

year’s  art.” 

The  English  figure-painters,  headed  by  such  artists  as  Sir  Frederick 
Leighton,  President  of  the  Royal  Academy,  E.  Burne-Jones,  J.  E. 
Millais,  Holman  Hunt,  G.  F.  Watts,  L.  Alma-Tadema,  E.  J.  Poynter, 
and  others,  are  producing  work  equal  to  any  period  in  the  history  of 
art.  As  compared  with  the  Paris  Salon , there  have  been  few  large 

and  important  pictures  exhibited ; but,  on  the  other  hand,  it  would 
be  difficult  to  point  to  greater  technical  successes,  or  to  modern  paint- 
ings on  which  more  skill,  labor,  and  cultivation,  had  been  bestowed, 
than  on  the  u Ct/mon  and  Iphigenia  ” (page  2),  by  Sir  Frederick  Leigh- 
ton; the  C£ Hadrian  in  Britain ” (page  4),  by  L.  Alma-Tadema;  or  the 


"he  number  of  pictures  sent  in  to  the  Royal  Academy  alone  last  spring  was  eight  thousand  and 
ninety-three,  of  which  eighteen  hundred  and  fifty-six  were  exhibited. 


Preface. 


VI 1 


“ King  Cophetua ” (page  141),  by  Burne-Jones.  Mr.  Holman  Hunt  has 
been  engaged  for  five  years  on  one  picture,  and  Mr.  G.  F.  Watts  and 
Mr.  E.  J.  Poynter  have  contributed  little  to  the  year’s  exhibitions;  the 
latter  having  been  engaged,  with  Sir  Frederick  Leighton,  on  designs  for 
the  decoration  of  St.  Paul’s  Cathedral  in  London. 

The  influence  of  such  artists  and  the  teaching  in  our  schools  have 
raised  the  standard  in  drawing  and  composition  in  a remarkable  man- 
ner during  the  last  few  years.  But  variety  of  character  and  individu- 
ality are  still  the  marked  characteristics  of  English  work,  students  in 
England  being  less  influenced  by  any  master’s  style  than  in  the  ateliers 
of  Paris  or  Munich. 

In  landscape  it  will  be  observed  that  English  artists  are  not  occu- 
pied in  composing  pictures  like  Turner  or  Cdaude ; they  are  followers 
rather  of  that  school  of  landscape-painting  which  found  its  best  expres- 
sion in  the  work  of  Constable  and  Crowe,  and,  in  pure  water-colors, 
in  the  drawings  of  David  Cox  and  Dewint.  The  sentiment  of  land- 
scape is  less  considered  than  quality  and  truth  to  nature. 

Thus,  without  entering  into  a discussion  of  comparative  merits,  it 
may  be  pointed  out  that  che  art  of  England  has  qualities  and  charac- 
teristics which  should  be  more  widely  known ; and  when  the  great 
barriers  against  progress — protective  tariffs — shall  be  broken  down,  a 
knowledge  of  English  art  may  become  as  wide-spread  as  that  of  its 
literature,  and  a love  for  it  be  as  deeply  implanted  in  American  soil. 

The  notice  of  the  Water-Color  Societies  will  be  interesting  in  con- 
nection with  the  proposed  exhibition  by  English  water-color  artists,  to  be 
held  in  New  York  and  at  the  Museum  of  Fine  Arts,  Boston,  in  1885. 
The  works  of  many  artists  spoken  of  here,  and  whose  sketches  appear 
on  these  pages,  will  then  be  seen  for  the  first  time  in  America. 


Vlll 


Preface. 


Of  the  illustrations  in  “English  Art”  a few  words  must  be  said. 
When,  just  ten  years  ago,  the  possibility  of  obtaining  an  exact  fac- 
simile of  an  artist’s  pen-drawing  on  a “ relief  ’’-block,  to  print  with  the 
type,  was  first  practically  demonstrated,  it  opened  out  a wide  field  of 
interest  and  usefulness.  By  means  of  the  invention  of  photo-mechanical 
engraving  we  are  enabled  to  present  to  the  reader  of  these  pages  the 
very  hand-work  of  the  artist  side  by  side  with  the  text.  The  communi- 
cation between  the  artist  and  the  public  has  thus  become  very  rapid  and 
direct.  The  artist,  having  completed  his  picture,  puts  down  on  paper, 
in  the  fewest  lines,  the  leading  features  or  accents  of  it;  this  memo- 
randum or  sketch  is  reproduced  without  the  aid  of  the  wood-engraver, 

and,  by  means  of  the  printing-press,  multiplied  over  the  world.  There 

is  no  attempt,  or  should  be  no  attempt,  at  making  a finished  picture  ; 

the  object  is  to  indicate,  in  the  fewest  lines  and  in  the  most  direct 
way,  what  the  artist  had  in  his  mind.  To  some  artists  this  power  is 

given  in  an  exceptional  degree.  Sir  John  Gilbert,  the  veteran  illustra- 
tor, in  his  sketch,  on  page  16,  of  the  weary  horseman  on  the  morn- 
ing of  the  battle  of  Agincourt,  indicates  exactly  the  character  and 

composition  of  his  picture.  More  subtly  expressed  in  these  pages — so 
tenderly,  indeed,  that  we  wonder  at  the  power  which  conveys  an 
impression  by  such  simple  means — is  the  disturbed  little  face  in  Mar- 
cus Stone’s  painting  entitled  “ Fallen  out”  on  page  21.  No  elabo- 
rate wood-engraving  would  have  done  this  for  us  on  the  small 
scale  necessary.  Again,  Mr.  Eyre  Crowe,  in  the  sketch  of  his  pict- 
ure of  the  little  scholars  at  St.  Maclou,  Rouen  (page  23),  tells  the 

public  what  he  saw  as  clearly  as  in  the  painting.  And  in  many  other 

figure-subjects  the  story  is  told  by  this  process  in  a very  few  lines 
indeed. 


Preface. 


IX 


In  portraiture,  illustrations  are  of  necessity  less  interesting,  but  the 
sketch  on  page  155,  of  Millais’s  portrait  of  Lord  Lome,  from  the 
Grosvenor  Gallery,  gives  the  character  of  it  exactly,  and  it  is  the  style 
of  a portrait  we  seek  to  know. 

In  landscape  we  may  often  obtain  an  accurate  idea  not  only  of 
the  composition,  but  of  the  sentiment  of  a picture,  as,  for  instance, 
of  the  quietness  in  Mr.  Parton’s  autumn  scene,  “ The  Vale  of  Lightf 
sketched  on  page  97,  and  of  the  wind  in  the  trees  in  “ A Wintry 
Dirge ” (page  103),  by  Alfred  East. 

This  system  of  expression,  of  communication  between  two  minds 
by  means  of  a few  touches,  is  the  great  art  of  the  illustrator.  It  has 
been  shown  in  a high  degree  in  the  war  sketches  by  Detaille  in  Paris- 
ian newspapers. 

But  the  tendency  of  all  illustrators  is  to  elaborate,  and  the  fashion 
tends  toward  smooth  and  highly-finished  illustrations  everywhere.  Even 
the  French  artists,  imitating  the  English  system  of  making  sketches  of 
their  pictures  exhibited  in  the  Salon , tend  to  over-elaboration.  In 

engravings  of  pictures  there  is  generally  too  much  given,  and  a pict- 
ure is  presented  to  us  which  is  far  from  the  original.  The  most 

attractive  reproduction  is  often  one  from  which  the  individuality  of  the 
originator  has  passed  away.  In  sketching  a picture,  the  great  art  is 
“ the  art  of  leaving  out”  and,  looking  to  the  future,  it  would  be  well 
for  young  artists  to  make  a study  of  expressing  effects  in  the  fewest 
lines.  In  this  method  of  work  we  are  approaching  nearer  in  artistic 
value  to  the  reproductions  of  drawings  by  Mantegna  and  Durer,  and 
to  the  etchings  by  Rembrandt ; the  value  of  the  new  system,  as  com- 
pared with  the  old,  being  in  the  almost  illimitable  number  of  copies 
that  may  now  be  printed  from  a single  block. 


X 


Preface. 


The  full-page  plates  in  this  volume  have  been  photographed  direct 
from  the  painting,  and  reproduced  by  a system  of  photo-engraving ; 
but  photographs  of  pictures,  valuable  and  interesting  as  they  are,  are 
very  far  from  giving  the  true  balance  of  color  of  the  original.  In  the 
reproduction  of  many  compositions  photography  is  of  the  utmost  value ; 
but  the  light  on  the  sea  in  Colin  Hunter’s  u Her  ring- Market ,”  which 
we  give  at  the  head  of  this  Preface,  could  not  have  been  indicated 
without  lines.  In  short,  we  are  still  far  from  the  possibility  of  repro- 
ducing a picture  satisfactorily  without  the  hand-work  of  the  artist  on 
the  reproduction. 

In  turning  over  a portfolio  of  engravings  or  etchings,  or  an  ordi- 
nary illustrated  book,  we  may  linger  admiringly  on  the  perfection  of 
the  engraver’s  art ; but  in  this  volume  we  should  care  as  little  for  the 
method  of  reproducing  an  artist’s  sketch  as  for  character  in  the  hand- 
writing of  a telegram. 

Thus  regarded,  “ English  Art  in  1884”  will  be  found  of  great 
interest  in  drawing  attention  to  the  work  of  many  artists  whose  pict- 
ures, from  various  causes,  have  never  been  illustrated  before.  And  the 
possessor  of  this  book  will  be  a collector  of  autographs  which  will 
increase  in  interest  year  by  year ; for  never,  we  believe,  in  the  history 
of  art  has  one  volume  contained  the  hand-work  of  so  many  differ- 
ent men. 

H enry  Blackburn. 

103  Victoria  Street,  Westminster, 

August  1,  1884. 


In  the  production  of  this  volume  I have  to  acknowledge  the 
kind  assistance  of  Mr.  M.  Phipps  - Jackson  and  Mr.  Frederick  Wed- 


Preface 


xi 


more.  The  illustrations  are  by  various  processes,  English,  French,  and 
American.  A number  of  the  blocks  are  by  the  Lefman  process,  from 
a work  entitled  “ The  Royal  Academy  Illustrated.” 


No.  986.  “ Water-Lilies  and  Poppies."  W.  J.  Muckley, 


CONTENTS. 


PAGE 

THE  ROYAL  ACADEMY i 

THE  GROSVENOR  GALLERY.  ........  139 

THE  INSTITUTE  OF  PAINTERS  IN  OID-COLORS  173 


THE  WATER-COLOR  SOCIETIES 


193 


LIST  OF  FULL-PAGE  PHOTO-ENGRAVINGS. 


SUBJECT. 

ARTIST. 

I. 

Consulting  the  Oracle  .... 

J.  W.  Waterhouse. 

2. 

Dr.  Johnson  and  Mrs.  Siddons 

W.  P.  Frith,  R.  A. 

3- 

Faith  ....... 

E.  Armitage,  R.  A. 

4- 

The  Pet  Plant  ..... 

Id.  S.  Marks,  R.  A. 

5- 

Sweethearts  and  Wives  .... 

P.  R.  Morris,  A.  R.  A. 

6. 

The  Very  Image  .... 

Joseph  Clark. 

7- 

The  Declaration  of  War  .... 

J.  D.  Linton. 

8. 

La  Cocarde  Tricolore,  Paris,  1789  . 

G.  P.  Jacomb-FIood. 

9- 

You  a Christian!  ..... 

James  Archer. 

IO. 

Waifs 

T.  B.  Kennington. 

ii. 

An  Ugly  Customer  .... 

J.  R.  Reid. 

12. 

Going  to  the  Fountain 

Haynes  Williams. 

13- 

Friendly  Advances  .... 

J.  P.  Beadle. 

14. 

Queen  of  the  May  .... 

Id.  Schmalz. 

***  For  Engravings  in  the  text,  see  Index  to  Artists,  at  the  end  of  the  volume. 


THE  ROYAL  ACADEMY. 


The  one  hundred  and  sixteenth  exhibition  of  the  Royal  Academy  of  Arts,  at  Burlington 
House,  in  London,  contained  eighteen  hundred  and  fifty-six  works  of  art  in  painting  in  oils 
and  water-colors,  engraving,  etching,  architectural  designs,  and  sculpture. 

There  are  nine  rooms  devoted  to  oil-paintings,  of  which  the  principal  is  the  fine  long 
Gallery  III,  where  the  banquets  and  other  meetings  are  held,  and  where  the  president 

addresses  the  students  at  the  annual  giving  of 
prizes. 

In  this  gallery  the  principal  pictures  of  the  year 
(works  of  members  of  the  Academy,  of  whom  there 
are  forty,  with  a right  to  exhibit  eight  pictures 
each)  are  generally  to  be  found  on  the  line. 

Let  us  look  first  at  the  prominent  features  of 
this  gallery.  In  the  place  of  honor,  in  the  center 
of  the  north  wall,  was  a large  picture  by  Sir  Fred- 
erick Leighton,  the  president,  a work  upon  which 
he  has  been  long  engaged,  and  upon  the  studies  and 
models  for  which  much  has  been  written.  It  is  by 
no  means  the  most  successful  work  of  the  painter, 
and  interests  us  less  than  many  earlier  paintings— 
such  as  the  “ Daphneforia"  of  1876,  and  his  grace- 
ful picture  of  “ Wedded ,”  exhibited  two  years  ago. 
The  painting  of  “ Cymon  and  Iphigenia  ” is 

68  x 47.  <_ 

No.  340.  “Night."  P.  H.  Calderon,  R.  A.*  refined  and  scholarly;  the  subject  grandly  and  (as 

“Empress  of  silence  and  queen  of  sleep.”  we  see  in  the  outline)  conventionally  and  decora- 


* The  figures  below  the  illustrations  indicate  the  sizes  of  the  pictures.  The  numbers  are  those  of  the  official  catalogues 
of  the  various  public  galleries  where  the  pictures  have  been  exhibited. 


2 


English  Art  in  1884. 


tivelv  treated  ; elaborate  and  highly  finished,  rich  in  color,  and  almost  perfect  in  the  drawing 
and  arrangement  of  draperies. 

It  is  Boccaccio’s  rendering  of  the  familiar  story  of  Cymon  and  Iphigenia  that  the  presi- 
dent has  chosen  for  his  theme.  The  scene  is  on  the  edge  of  a wood  in  the  Island  of 
Cyprus,  where,  “under  the  breath  of  a May  night,  is  seen  asleep  a lovely  lady,  clad  only  in 
her  subtile  vesture,  and  with  no  guards  excepting  two  sleeping  attendants  and  a little  child.” 


Near  stands  Cymon,  the  young  peasant,  transfixed  by  the  sight  of  her  beauty.  To  depict 
the  gradual  awakening  of  better  thoughts  and  a higher  life  in  an  uneducated  peasant,  under 
the  influence  of  Iphigenia’s  charms,  has  been  the  great  effort  of  the  painter — the  refining 
influence  of  art  upon  the  uncultivated  being  the  moral  of  the  story.  In  the  absence  of 
many  pictures  of  high  aim  or  intention,  and  considering  the  great  want  of  thoroughness  in 
modern  work,  this  painting  sets  an  example  to  students.  The  photogravure  produced  by 
Messrs.  Goupil  will  give  a good  indication  of  the  design.  Sir  Frederick  Leighton  takes 
much  interest  in  this  new  and  wonderful  method  of  reproduction. 

Opposite  to  the  foregoing  is  the  principal  contribution  by  J.  E.  Millais,  R.  A.,  a picture 
of  five  figures,  for  which  the  sum  of  twenty-five  thousand  dollars  has  been  paid.  The 
painter  of  a long  line  of  celebrated  pictures — of  “ The  Huguenots ,”  of  “ The  Gambler  s 
Wife]'  of  “ Autumn  Leaves]'  of  “ The  Yeoman  of  the  Guard"-,  the  greatest  living  portrait- 
painter,  and,  we  might  almost  add,  the  greatest  landscape-painter — has  given  us  this  year 
one  subject-picture,  lacking,  it  is  true,  the  absorbing  human  interest  of  many  of  his  former 
works,  but  bearing  the  mark  of  genius  upon  it  as  unmistakably  as  its  predecessors. 


The  Royal  Academy. 


3 


The  scene  is  a wood  by  a cool  rivulet — the  period  soon  after  the  battle  ol  Culloden — 
where  three  Scotch  lasses  are  seated,  listening  to  an  English  fifer-boy — who  has  come  north 
with  the  troops — the  latter  clad  in 
the  crude -colored  red -and -yellow 
uniform  with  white  gaiters  depicted 
in  Hogarth’s  “ March  to  Finchley'.' 

The  interest  centers,  we  might  say 
culminates,  in  the  figure  of  the  boy 
playing,  which  is  almost  as  power- 
ful, as  a character-study,  as  the  old 
“ Yeoman  of  the  Guard”  painted  in 
1877.  It  has  been  suggested  that 
the  boy-figure  might  with  advantage 
have  made  one  picture,  and  the  three 
girls  another.  For  the  sake  of  har- 
mony and  “ keeping,”  this  change 
might  have  been  made  with  advan- 
tage, for  the  crudeness  of  the  uniform,  red,  yellow,  and  white,  the  painter  has  rendered  with 
such  uncompromising  force  as  seriously  to  detract  from  the  beauty  of  the  children,  and  to 
take  our  attention  from  the  rich  quality  of  much  of  the  work.  The  painting  has  the  peculiar 
charm  which  pervades  all  Millais’s  representations  of  children,  and  the  composition  is  well 
indicated  in  the  rough  sketch. 

At  the  head  of  this  gallery,  in  the  center  of  the  wall,  was  a large  picture  by  L.  Alma- 
Tadema,  R.  A.  This  painter  has  produced  nothing  so  important  in  size  or  composition 
since  “ The  Picture-Gallery " and  “ The  Sculpture-Gallery ,”  which  were  exhibited  in  the 
Academy  in  1874  and  1875,  and  are  now  in  Mr.  Gambart’s  villa  at  Nice.  “ The  Pottery ” 
is  in  some  sense  a pendant  to  the  foregoing.  It  represents  the  visit  of  the  Emperor 
Hadrian,  with  his  wife  and  attendants,  to  a Romano-British  pottery.  The  following  descrip- 
tion, from  details  communicated  by  the  artist  to  the  correspondent  of  a London  newspaper, 
will  be  read  with  interest  in  connection  with  the  outline  on  page  4 : 

“The  exact  locality  of  the  manufactory  is  not  signaled.  We  may  suppose  it  to  have 
been  situated  in  the  center  of  one  of  the  great  Roman  colonies,  and  to  have  possessed 
show-rooms  in  which  not  merely  the  local  ware,  but  specimens  from  all  the  famous  kilns, 
could  be  inspected.  We  are  not  allowed  to  decide  which  of  all  the  sorts  presented  to  the 
emperor  is  actually  being  made  by  the  fair-haired  artisans  whom  we  see  at  work  under  the 
archway  of  the  staircase.  Upon  the  stairs  itself  two  half-naked  men,  girt  with  broad  leather 


54i  x 74i- 

No.  347.  “An  Idyll , 1745.”  J.  E.  Millais,  R.  A. 


4 


English  Art  in  1884. 


belts,  are  carrying  specimen-trays  up  to  the  emperor.  In  the  tray  of  the  first  of  these, 
whose  entire  figure  is  seen  on  the  right  of  the  composition,  the  peculiar  drah  pots  made  in 
the  Upchurch  marshes  are  presented  to  us ; while  the  man  who  follows  him,  and  whose 
head  and  uplifted  hands  alone  are  visible,  hears  aloft  a tray  of  nothing  hut  the  slate-colored 


86|  x 66|. 

No.  245.  “ Hadrian  in  Britain;  visiting  a Romano- British  Pottery .”  L.  Alma-Tadema,  R.  A. 


OK<&SARDlV| 


NIRAUHFIEVS/  V)1, 

IERWNEPQA  PJ\ 

|\  /CU  / r\DIAMC  t 1 


IV5HADR'AI\I& 

— 


Durobrivian-ware,  which  was  made  round  Castor,  in  the  valley  of  the  Nen  in  Northamp- 
tonshire. 

“ At  the  top  of  the  staircase  we  see  an  open  gallery  filled  with  the  distinguished  Roman 
visitors.  Hadrian  himself,  in  a purple  toga,  stands  at  the  head  of  the  stairs,  examining  a 


The  Royal  Academy. 


5 


vase  with  an  expression  of  dignified  affability.  The  master-potter  leans  forward  in  the  act 
of  explanation,  and  we  see  his  light  red  hair  and  beard  in  contrast  to  the  black  hair  of 
all  the  Romans.  Behind  Hadrian  stands  his  friend  Lucius  Verus,  afterward  father  to  the 
Emperor  Commodus.  He  is  in  attendance  on  Hadrian,  and  keeps  the  rest  of  the  suite  a 
little  in  the  background.  He  leans  with  a dandified  air  on  a long  staff,  which  is  tipped 
with  a little  Venus  carved  in  ivory.  On  the  other  side  of  the  gallery  the  great  ladies 
cluster  round  the  potter’s  wife.  She  is  represented  as  a blonde  girl,  of  extremely  fair  skin, 
in  a pale-blue  dress  ; her  back  is  turned  to  us,  and  we  can  only  judge  of  her  beauty  from 
the  delicacy  of  her  neck  and  shoulders.  Mr.  Alma-Tadema  declares  that  he  turned  her  face 
away  because  he  despaired  of  doing  justice  to  her  fresh  English  beauty.  She  is  talking  to 
the  Empress  Sabina,  Hadrian’s  wife,  a dignified  Roman  matron,  and  to  Balbilla,  the  friend 
of  Sabina,  the  famous  female  wit  whose  Boeotian  verses  were  inscribed  by  Hadrian’s  com- 
mand on  the  base  of  the  Vocal  Memnon.  Between  the  groups  there  leans  over  the  stair- 
case, in  a lilac  toga,  Servianus,  Hadrian’s  sister’s  husband. 

“ The  accessories  of  this  interesting  group  of  historical  personages  are  full  of  ingenuity 
and  suggestiveness,  as  always  in  Mr.  Alma-Tadema’s  pictures.  The  architecture  is  rough,  in 
red  terra-cotta,  which  has  been  made  on  the  premises ; for  the  master-potter,  like  a Doulton 
of  to-day,  makes  at  the  same  time  the  roughest  things  for  practical  uses,  and  the  most 
delicate  for  ornamental  uses.  At  the  elbow  of  the  staircase  stands  a beautiful  black  vase, 
which  is  a careful  reproduction  of  the  famous  Colchester  Pot,  which  was  discovered  in 
1853;  this  has  interesting  reliefs  running  round  it  as  a frieze.  Another  large  and  graceful 
vase  is  full  of  wall-flowers,  and  a great  wreath  of  primroses  is  wound  around  it  to  show  at 
what  time  of  the  year  Hadrian’s  visit  was  made.  The  wall  of  the  staircase  is  copied  from  a 
mosaic  found  on  the  floors  of  the  famous  Roman  villa  of  Bignor,  near  Arundel,  and  Mr. 
Alma-Tadema  considers  that  such  walls  and  pavements  as  this  made  in  mosaic  would  prob- 
ably be  manufactured  at  such  a pottery  as  he  has  painted,  the  tessalcz  being  of  terra-cotta 
and  local  stone.  In  the  corner  of  the  staircase,  near  the  center  of  the  picture,  we  see  one 
of  those  interesting  little  bits  of  reproduction  of  antique  life  in  which  Mr.  Alma-Tadema  is 
so  eminently  happy.  This  is  the  altar  of  the  household  god.  A snake  is  painted  round  it, 
and  by  a little  lamp  there  is  placed  a votive  offering  of  onions,  sacred  to  the  Penates.  The 
potters  have  painted  this  inscription  as  a welcome  to  their  emperor  : 

‘ Ave  Imperator  Caesar 
Divi  Trajani  parth.  films 
Divi  Nervae  nepos 
Trajanus  Hadrianus 

Locupletator  Orbis.’ 


English  Art  in  1884. 


/ 

0 


Hadrian  was  not,  indeed,  declared  locupletator  by  the  senate  till  after  the  date  of  this 
picture,  but  Mr.  Alma-Tadema  thinks  that  it  would  probably  be  in  some  grateful  colony 
that  the  title  would  first  be,  unofficially,  suggested. 

“The  painter  possesses  a unique  collection  of  drawings  of  the  Romano-British  pottery, 
and  he  has  visited  most  of  the  museums,  and  particularly  those  at  Colchester,  Maidstone, 
and  Cirencester,  to  make  studies  for  this  picture.” 

As  a work  of  art,  probably  no  painting  has  given  the  artist  more  labor,  but  the  result 
as  a whole  can  hardly  be  considered  an  artistic  success.  There  is  nothing  in  this  large 
picture  to  equal  in  quality  or  charm  “ The  Oleander  " of  last  year.  The  design  of  “ The 
Pottery"  is  complicated,  and  seems  to  transgress  many  of  the  ordinary  rules  of  composition, 
but  the  painting  of  the  man’s  figure  ascending  the  stairs  has  hardly  been  surpassed  in  any 
period  of  art ; certainly  there  was  nothing  to  approach  it,  technically,  in  this  year’s  exhibition. 
Some  details  also  are  painted  in  Mr.  Alma-Tadema’s  best  and  strongest  manner,  but  as  a 
whole  the  picture  fails — the  effect  of  perspective  is  questionable,  the  great  blank  wall  in  the 
middle  of  the  canvas  is  uninteresting,  and  the  cutting  off  of  the  head  of  the  lower  figure 
carrying  pots  is  unpleasing.  We  are  made  to  care  most  for  details,  for  the  painting  of 
flesh,  for  the  texture  of  Hadrian’s  robe,  and  for  the  draperies  and  ornaments  of  the  women. 
Thus,  we  might  sum  up  Mr.  Alma-Tadema’s  art,  as  shown  in  this  picture,  as  devotion  to 
accessories , to  technical  triumphs  of  a high  order.  But  Mr.  Alma-Tadema,  like  Mr.  Millais, 
is  also  great  in  portraiture,  especially  in  the  portraits  of  his  friends.  These  were  exhibited 
in  the  Grosvenor  Gallery  in  1884. 

The  “ picture  of  the  year,”  that  is  to  say,  the  picture  upon  which  more  has  been  said 
and  written  than  any  other,  is  Mr.  Orchardson’s  “ Mariage  de  Convenance The  three 
figures  which  we  see  in  the  sketch,  in  a curiously-empty  apartment,  have  set  half  London 
talking  during  the  month  of  May.  The  painter  of  Napoleon  in  1880,  and  Voltaire  in 
1883,  has  achieved  an  extraordinary  success  in  his  “ Mariage  de  Convenance'.'  The  figures 
(the  lady  in  white-satin  dress)  are  seen  under  a glow  of  subdued  light  from  the  colored 
lamp  over  the  dinner-table  ; the  distribution  of  light  and  shade  is  very  harmonious,  and 
the  management  of  color  on  the  table  laden  with  fruit  most  skillful.  But  the  interest  of 
the  picture  to  the  majority  has  been,  so  to  speak,  more  literary  than  artistic  ; it  is  the  story, 
not  altogether  a pleasant  one,  that  absorbs  attention. 

Mr.  George  Augustus  Sala,  a great  admirer  of  Mr.  Orchardson’s  work,  writes  thus  on 
the  “ Mariage  de  Convenance" : “We  are  in  the  dining-room  of  a fashionable  mansion,  and 
Beatrice  and  Benedick  have  been  dining  en  petite  comite.  Dinner  is  over,  dessert  is  being 
served  and  the  pair  are  being  waited  upon  by  a judicious  butler.  Beatrice  is  young, 
comely,  and  fully  aware  of  her  comeliness,  and  she  is  dressed  in  the  strictest  accordance 


The  Royal  Academy. 


7 


with  the  latest  behests  of  the  ‘ Ladies’  Gazette  of  Fashion.’  Anon,  you  think,  the  brougham 
will  be  in  attendance,  the  grande  dame  de  par  le  monde  will  be  carefully  shawled  and 
cloaked,  and  the  loving  couple  will  honor  a box  at  the  opera  or  a stall  at  the  Haymarket 
with  their  presence.  But  are  they  a loving  couple  ? Alas  and  alack ! although  Beatrice  is 
youthful  and  fair  and  fascinating,  Benedick  is  old — and  not  venerable.  His  valet  has  made 
the  best  of  his  master’s  sparse  locks  and  grizzled  mustache  ; but  he  is  beyond  the  help  of 
valets,  and  even  of  the  magician  Truefitt  himself.  An  excellent  old  gentleman,  no  doubt. 
Although  he  feebly  wags  his  head  over  the  glass  which  the  butler  is  replenishing,  he  is 
evidently,  as  regards  breeding,  very  high.  A baronet  probably ; member  for  his  county 


41  X 60. 

No.  341.  “ Manage  de  Convenance.”  W.  Q.  Orchardson,  R.  A. 


possibly ; evidently  wealthy.  Fond  of  antique  silver,  old  books,  old  illuminated  manuscripts. 
Well  known  at  Christie’s  ; a member  of  several  Pall  Mall  clubs.  He  grudges  Beatrice  nor 
diamonds,  nor  dresses  from  Worth,  nor  point-lace  from  Elise,  nor  bonnets  from  Louise,  nor 
horses  and  carriages  and  Dutch  pugs,  nor  trips  to  Nice  or  the  Engadine — and  it  is  a 
‘ Mari  age  de  Convenance'. 

“ Only  three  personages  in  this  domestic  drama  of  fashionable  life  ? Why,  the  imagina- 
tion at  once  fills  the  dining-room,  the  servants’  hall,  the  whole  house  with  people  knowing 
a variety  of  things,  occult  and  awful.  The  brougham  is  driving  up  to  the  door  of  the 
great  mansion  ; but  it  is  Black  Care  and  not  the  groom  who  sits  by  the  coachman’s  side. 


8 


English  Art  in  1884. 


At  one  end  of  the  splendid  dining-room  table,  laden  with  costly  plate,  with  choice  flowers 
and  luscious  fruit,  cowers  Caducity,  humbled,  vainly  trying  to  preserve  its  dignity,  labori- 
ously endeavoring  to  put  a good  face  upon  things,  but  hopelessly  drifting  into  Fogyism, 
utterly  unable  to  accept  the  situation,  and  ashamed  of  being  old.  In  the  shadows  behind 
Benedick’s  chair  seem  to  hover  ‘ the  Painful  Family  of  Death,  more  hideous  than  their 
Queen  ’ — the  ills  that  rack  the  joints  or  fire  the  veins,  that  strain  every  laboring  sinew  or 
in  the  deeper  vitals  rage.  And  at  the  other  end  of  the  table — a wide,  wide  gulf,  not  only 
of  fruit  and  flower-decked  damask  napery,  but  of  years,  and  imperfect  sympathies,  and  unim- 
parted thoughts  and  blasted  hopes  yawning  between  them — sits  Beatrice,  young,  beautiful, 
shapely,  vascular,  and  in  a silent,  mad  rage.  She  looks  as  though  on  but  slight  provocation 
she  would  tear  her  rich  raiment  from  her  shoulders,  and  wrench  her  rings  from  her  fingers 
and  her  bracelets  from  her  wrists,  and  fling  the  gewgaws  at  the  head  of  her  husband  or  of 
the  judicious  butler. 

“ In  the  1 Mariage  de  Convenance ,’  the  handsome,  willful,  self-tormenting  Beatrice,  the 
effete  and  dispirited  but  always  high-toned  and  high-bred  Benedick,  and  the  judicious  butler, 
who  is  so  careful  in  whispering  the  precise  date  of  the  vintage  of  the  Chateau  Margaux, 
and  is  aware,  besides,  of  such  an  alarming  variety  of  things,  are  all  adequately  modeled,  or, 
to  speak  more  technically,  ‘ made  out,’  with  due  attention  to  the  laws  of  convexity  and 
concavity.  Of  the  wealth  and  subtilty  of  expression  in  the  faces  of  the  three  personages 
enough  has  been  said  in  sketching  the  wholly  imaginary  drama  in  which  they  are  taking 
part.” 

Columns  have  been  written  in  this  strain,  an  extract  from  which  may  prove  more 
interesting  than  dwelling  entirely  on  the  technical  merits  of  this  picture.  Mr.  Orchardson 
ranks  high  as  a painter  of  genre , but,  to  get  a more  complete  idea  of  his  style  and  method, 
his  smaller  picture  of  “ The  Farmer s Daughter ,”  in  the  Grosvenor  Gallery  this  year,  should 
be  looked  at  in  the  section  devoted  to  that  gallery. 

“ The  Toast  of  the  Kitcat  Club''  as  presented  to  us  by  Mr.  W.  F.  Yeames,  R.  A.,  is  more 
interesting  historically  than  for  any  special  quality  in  the  painting.  In  Mr.  Orchardson’s 
work  there  is  much  that  is  subtile  and  suggestive;  here  in  Mr.  Yeames’s  picture,  which 
hangs  beside  it,  all  is  careful,  literal,  and,  as  far  as  possible,  matter  of  fact. 

I he  members  of  the  literary  clubs  in  the  last  century  were  intimately  associated  with 
the  society  of  the  time,  and  there  is  nothing  doubtful  in  the  story  that  the  little  Lady 
Mary  Pierrepont  was  brought  in  to  be  admired  and  “ kissed  all  round  ! ” The  Whig  gen- 
tlemen, we  read,  drank  her  health  upstanding,  gave  her  sweetmeats,  and  had  her  name  cut 
on  a drinking-glass  in  honor  of  her  visit.  “ Never,”  writes  Lady  Mary  Wortley  Montagu, 
“did  I pass  so  happy  an  evening.”  Mr.  Yeames  has  labored  hard  to  give  the  portraits  and 


The  Royal  Academy. 


9 


costumes  from  the  best  authorities.  Sir  Godfrey  Kneller  is  in  the  foreground ; next  to  him 
Garth;  Congreve  turning  in  his  chair;  Tonson,  the  publisher;  above  him,  Addison;  and  Steele, 
with  a wine-glass  in  his  hand.  Marlborough  and  others  on  the  left  of  the  picture.  Alto- 

gether, in  the  lack  of  historic  painting,  of  the  first  class,  we  are  glad  to  welcome  Mr. 
Yeames’s  work,  and  to  reproduce  it  in  our  record  of  “English  Art  in  1884.” 


43  x 39- 

No.  332.  “ The  Toast  of  the  Kitcat  Club.”  W.  F.  Yeames,  R.  A. 


“ It  having  fallen  to  the  turn  of  the  Duke  of  Kingston  to  propose  a beauty  as  the  annual  toast  of  the  club,  he  nominated 
his  little  daughter  Lady  Mary  Pierrepont  (afterward  Lady  Mary  Wortley  Montagu).  Some  of  the  members  demurred,  as 
they  had  not  seen  her.  The  duke  sent  for  her,  and  when  she  arrived  she  was  received  with  acclamations,  her  claims  unani- 
mously allowed,  and  she  was  petted  and  caressed  by  all  the  eminent  men  present.” 


Mr.  Philip  Calderon,  R.  A.,  is  represented  in  his  principal  work  by  a single  figure  of 
“Night”  which  is  sketched  at  the  head  of  this  chapter.  Always  with  grace  and  refinement, 
as  distinctive  characteristics  of  his  art,  Mr.  Calderon,  when  at  his  best,  rises  to  the  rank  of 
those  masters  who,  with  poetic  conception  of  a high  order,  have  combined  great  technical 


IO 


English  Art  in  1884. 


dexterity.  This  realization  of  his  present  subject  is  the  life-size  figure  of  a Greek  girl  rest- 
ing upon  a marble  seat,  with  the  starlighted  canopy  of  heaven  above  her,  and  in  the  dis- 
tance, upon  a hill,  Corinth,  or  some  other  city  of  Greece.  The  principal  motive  of  the 
design  is  repose,  whether  in  sentiment,  color,  or  line.  The  deep-blue  sky,  the  girl’s  seated 
figure,  the  upper  half  of  which  is  draped  in  white,  with  dark-blue  robe  across  her  knees, 
and  the  delicate  flesh-tints,  altogether  form  a fine  and  harmonious  picture.  This,  and  another, 
entitled  “Day”  are  to  form  part  of  the  decoration  of  a dining-room  in  the  house  of  a well- 
known  art-collector  in  London. 

Mr.  J.  C.  Horsley,  one  of  the  elder  of  the  Royal  Academicians,  sends  a picture  of  a 
country  churchyard,  with  children  and  sheep  that  have  strayed  among  the  tombstones  — a 


glory  of  their  young  life  fresh  upon  them,  heedlessly  hiding  over  the  dead,  who  once  prob- 
ably had  done  in  like  mirth  what  these  little  ones  are  doing — the  pastor  and  his  flock,  nay, 
even  the  animals,  the  sheep,  suggesting  memorable  words  once  spoken — everything  intro- 
duced into  the  scene  carries  out,  not  without  an  occasional  touch  of  pathos,  the  simple 
story  of  life  and  death  the  artist  seeks  to  convey.” 

One  of  the  largest  pictures  in  the  Royal  Academy  is  Mr.  Goodall’s  picture  of  “ The 
Flight  into  Egypt”  which  faces  the  spectator  as  he  enters  the  galleries.  It  is  a powerful 
painting,  much  darker  in  tone  than  would  appear  from  the  sketch.  The  Pyramids  have 
been  painted  often,  and  “ The  Flight  into  Egypt”  is  no  new  subject  for  the  artist;  but 
Mr.  Goodall’s  skill  and  knowledge  of  Eastern  atmospheric  effects  endow  the  subject  with 
new  interest.  In  the  absence  of  almost  all  religious  subjects  in  the  Academy,  this  picture 
is  welcome  to  many.  Another  large  picture  by  the  same  artist  is  called  “ A New  Light 


46  X 61. 

No.  272.  “Hide  and  Seek.”  J.  C.  Horsley,  R.  A. 


familiar  enough  subject  in  England, 
treated  with  simplicity  and  truth  in 
all  details.  The  large,  heavy  stone 
slabs,  now  almost  discarded  in  Eng- 
land, the  pretty  lych-gate  under  the 
yew-tree,  the  group  at  the  church- 
porch — are  all  portraits,  so  to  spreak. 
A homely  picture,  without  any  special 
quality  in  the  painting,  of  which  a 
writer  remarks : “ We  have  not  the 
slightest  doubt  that  Mr.  Horsley  saw 
what  is  here  represented,  for  no  artist 
would  manufacture  such  a scene  for 
himself.  The.  pretty  children,  with  the 


The  Royal  Academy. 


1 1 


in  the  Harem''  depicting  a young  mother  and  child  in  an  Eastern  interior,  with  a Nubian 
nurse.  This  work  is  rich  in  color  and  costume,  and  full  of  character  and  vivacity.  Mr. 
Goodall,  like  Mr.  Edwin  Long,  R.  A.,  has  made  his  greatest  success  by  the  painting  of  single 


84  x 144. 


No.  619.  “ The  Flight  into  Egypt."  F.  Goodall,  R.  A. 

figures  from  scriptural  subjects,  figures  many  of  which  are  familiar  to  us  in  engravings.  Both 
artists  are  celebrated  for  the  painting  of  ornaments  and  draperies  glowing  in  sunlight. 

Mr.  Edwin  Long  reserves  his  large  works  for  private  exhibition;  the  figure  he  has  chosen 
for  his  principal  Academy  picture  is  that  of  “ Thisbc'.'  It  is  related  by  Ovid  that,  during  the 
celebration  of  the  festival  of  Bacchus,  the  daughters  of  Minyas  preferred  staying  at  home, 
rather  than  take  part  in  what  they  regarded  as  impious  rites,  and,  in  order  that  time  might 
pass  pleasantly,  one  of  them  proposed  to  tell  a story.  The  first  story  related  was  that  of 
Pyramus  and  Thisbe.  Pyramus  is  described  as  the  most  beauteous  of  youths,  and  Thisbe 
as  “ preferred  before  all  the  damsels  that  the  East  contained.”  Living  in  adjoining  houses, 
they  became  acquainted,  and  mutually  enamoured  of  each  other,  and  would  have  united 
themselves  in  marriage,  but  their  fathers  forbade  it.  But  they  managed,  however,  to  com- 
municate by  nods  and  signs.  Afterward  they  discovered  a crack  through  the  party-wall  that 
divided  their  two  houses,  through  which  they  were  able  to  converse,  Thisbe  on  one  side 
and  Pyramus  on  the  other.  This  is  the  passage  in  the  poem,  and  the  incident  that  Mr. 
Edwin  Long  has  chosen  for  his  Royal  Academy  picture.  The  artist  has  borne  well  in 
mind  the  poet’s  brief  description  of  Thisbe’s  charms — he  tells  us  that  she  was  “ preferred 


12 


English  Art  in  1884. 


before  all  other  damsels  that  the  East  contained”— the  modeling  of  the  figure,  that  of  a 
voumr  woman,  not  a girl,  listening  with  rapt  attention  to  the  accents  of  her  lover  as  they 

reach  her  through  the  chink  in  the  wall,  is  indi- 
cated in  the  sketch.  The  attitude  is  easy,  natural, 
and  graceful,  and  the  expression  modest  yet  fervent. 
This  picture  has  been  reproduced  in  pure  line-engrav- 
ing by  Monsieur  G.  Bertinos. 

No.  353,  “ Cruel  Necessity ,”  by  W.  P.  Frith,  R.  A. 
The  artist  here  illustrates  a story  told  of  the  Pro- 
tector Cromwell,  that  he  visited  the  Banqueting- 
House,  Whitehall,  where  the  body  of  that  hapless 
monarch,  Charles  I,  was  laid  the  night  succeeding 
his  execution,  and,  quietly  ascending  the  stairs,  he 
gazed  at  the  king’s  remains  for  some  time,  giving 
utterance  to  the  suggestive  words  referred  to  in  the 
title  of  the  picture.  With  the  political  aspect  of  the 
question  we  have  really  nothing  whatever  to  do  ; but 
there  is  something  singularly  solemn  in  the  idea  of 
the  great  man  who,  in  the  plenitude  of  his  power 
and  in  cold  blood,  had  upset  the  government  of  a 
powerful  nation  and  brought  its  ruler  to  the  block, 
feeling  impelled  to  secretly  view  the  remains  of  the 
man  whose  life  he  had  just  taken  away.  Two  Cava- 
liers, Lord  Southampton  and  another,  are  said  to 
have  witnessed  the  extraordinary  occurrence.  History  appears  to  point  to  the  fact  that  the 
persistence  of  the  king  in  a wrong-headed  and  perverse  course  had  resulted  in  a state  of 
things  where  either  his  life,  or  that  of  his  sworn  opponent,  Cromwell,  must  be  sacrificed. 

No.  306,  “Dr.  Johnson  and  Mrs.  Siddons ,”  is  a work  by  the  same  well-known  artist. 
The  fascinating  actress,  Mrs.  Siddons,  was,  it  appears,  in  the  habit  of  visiting  Dr.  Johnson 
constantly,  not  long  before  his  death.  Our  great  lexicographer,  who  was  scarcely  noted  for 
urbanity,  was,  however,  generally  polite  to  the  fair  sex,  and,  although  himself  so  distin- 
guished a man  of  letters,  he  acknowledged  with  graceful  courtesy  and  gratitude  the  attention 
of  a lady  who  was  in  every  way  an  ornament  to  histrionic  art.  These  visits,  which  took 
place  in  1 784,  shortly  before  the  doctor’s  death,  in  his  sixty-fifth  year,  found  him  so  infirm 
that  he  was  unable  to  accompany  the  fair  actress  to  her  carriage,  but  he  was  wont  to 
thank  her  with  a high-bred  politeness,  and  in  a set  formulary  of  words  he  never  varied. 


An  envious  wall  the  Babylonian  maid 
From  Pyramus,  her  gentle  lover,  stayed. 

Yet  here  a tiny  chink  none  else  had  seen 
Sufficed  to  bear  love’s  messages  between. 

They  kissed  its  stony  mouth  like  lovers  true, 
But  neither  side  would  let  the  kisses  through.” 
Ovid,  Met.  IV,  55  et  seq. 


The  Royal  Academy. 


Mr.  W.  P.  Frith,  the  painter  of  the  “ Derby  Day"  (so  popular  in  the  Royal  Academy 
in  1858,  and  now  in  the  National  Gallery)  and  other  similar  works,  has  given  us  nothing 
so  interesting  for  some  years  as  this  portrait-picture  of  Dr.  Johnson  and  Mrs.  Siddons, 
of  which  we  give  a full-page  illustration. 


“ The  night  after  King  Charles  I was  beheaded,  my  Lord  Southampton  and  a friend  got  leave  to  sit  up  by  the  body  in 
the  Banqueting-House  at  Whitehall.  As  they  were  sitting  there  very  melancholy  at  about  two  o’clock  in  the  morning,  they 
heard  the  tread  of  somebody  coming  slowly  up  the  stairs.  By-and-by  the  door  opened  and  a man  entered,  very  much 
muffled  up  in  his  cloak.  He  approached  the  body,  considered  it  very  attentively  for  some  time,  and  then  shook  his  head 
and  sighed  out  the  words,  ‘ Cruel  necessity.’  He  then  departed  in  the  same  slow  and  concealed  manner  as  he  had  come  in. 
Lord  Southampton  used  to  say  that  he  could  not  distinguish  anything  of  his  face,  but  that  by  his  voice  and  gait  he  took  him 
to  be  Oliver  Cromwell.” 

No.  463,  “Faith"  by  Edward  Armitage,  R.  A.,  is  a scriptural  design,  showing  the  Sav- 
iour, while  walking  through  the  streets  with  his  disciples,  followed  by  a crowd  of  the  poor 
and  of  those  who  believed  in  his  sacred  mission.  Some  of  these — sick,  blind,  and  in  sorry 
plight — have  hope  in  their  hearts  that,  if  Christ  only  wills  it,  they  may  be  healed.  One 

poor  woman,  strong  in  faith,  feels  assured  her  cure  is  certain,  if  she  can  but  kiss  the  hem 
of  the  Saviour’s  garment.  And  it  is  recorded  in  Holy  Writ  that  Christ  turned  himself 
about,  “ feeling  that  virtue  had  gone  out  of  him,”  and  the  trusting  sufferer  was  made 
whole.  The  chief  figure  in  this  fine  group  is  instinct  with  calm,  grand  dignity — the  crowd 
typifying  those  who  in  this  world  watch,  and  wait,  and  suffer. 

Mr.  Armitage  was  born  in  London,  in  1817,  and  was  a pupil  of  Paul  Delaroche. 


14 


English  Art  in  1884. 


This  artist,  and  Mr.  J.  R.  Herbert,  R.  A.,  are  among  the  few  exponents  of  sacred  art  among 
members  of  the  Royal  Academy  at  the  present  time.  Mr.  Herbert,  who  is  the  painter 
of  the  celebrated  picture  in  the  Houses  of  Parliament  of  “ Moses  with  the  Tables  of  the 
Law','  still  contributes  to  the  Academy,  but  his  day  is  past,  and  his  pictures  can  hardly  be 
regarded  seriously  by  the  critic.  Mr.  Armitage  still  holds  his  position,  and  in  choice  of  his- 
toric subjects  sets  a good  example  to  younger  men.  Mr.  Armitage’s  lectures  before  the 
students  at  the  Academy  have  lately  been  published,  and  are  well  worth  reading. 


38  x 29. 


No.  292.  “ The  Anglers  Rest."  H.  S.  Marks,  R.  A. 

^N°-  3^3>  “ The  Pet  Plant','  by  H.  Stacy  Marks,  R.  A.,  is  one  of  the  studies  of  monkish 
character  which  the  artist  peculiarly  affects,  and  which,  it  is  needless  to  add,  he  executes 
exceedingly  well.  A good  father,  whose  duty  is  evidently  that  of  gardener,  combined  with 
his  more  spiritual  office,  is  in  the  conservatory  of  the  monastery,  attending  to  the  plants. 
Pets,  it  is  to  be  presumed,  are  scarcely  an  allowable  luxury  with  priests,  but  this  worthy 


DR.  JOHNSON  AND  MRS.  SIDDONS. 
W.  P.  Frith,  R.  A. 


w .yC 


The  Royal  Academy. 


*5 


man  has  transgressed  the  law  in  as  permissible  a manner  as  possible  when,  yielding  to 
temptation,  he  makes  a pet  of  a flower. 

Another  single-figure  study  of  a monk,  No.  45,  “ The  Stopped  Key”  by  Mr.  Marks, 
represents  a priest  at  the  monastery-door  with  a basket  of  comestibles  at  his  side  which  he 
has  just  brought  from  a neighboring  village.  The  old  fellow  is  trying  to  pick  out  some- 
thing from  his  key,  which  will  not  turn  in  the  lock.  This  picture  is  very  similar  in  style 
and  composition  to  “ The  Pet  Plant'd 

More  important  and  interesting  than  either  of  the  former  is  No.  292,  “ The  Angler s 
Rest'd  by  the  same  hand.  A piscator,  in  costume  of  about  a century  ago,  is  seated  outside 
a picturesque-looking  country  inn,  chatting  to  some  traveler.  Sportsmen  are  impracticable 
creatures  for  general  social  purposes,  their  conversation  being,  as  a rule,  limited  to  their 
sport.  One  of  the  characters  Mr.  Marks  delineates  is  evidently  holding  forth  with  much 
emphasis  upon  the  delights  of  some  past  great  day’s  sport,  or  of  the  best  method,  under 
certain  circumstances,  of  ensnaring  the  finny  tribe.  In  the  distance,  a peep  of  bright,  flat 
lands,  with  a winding  stream,  forms  an  attractive  background.  Many  accurately  studied 
details  are  worth  noting,  such  as  the  timbers  of  “The  Dolphin  Inn,”  the  traveler’s  old-fash- 
ioned seat  by  the  road-side,  the  cos- 
tumes, the  cat,  the  pigeons,  and  the 
general  quiet  of  a scene  soon  to  dis- 
appear from  England  before  railway- 
hotels. 

No.  359,  “ The  Vigil'd  by  John  Pet- 
tie,  R.  A.  The  artist  takes  us  back  to 
the  ages  of  chivalry  in  this  subject. 

A young  esquire  is  here  represented 
kneeling  upon  the  stone  floor  of  a 
chapel,  watching  his  armor,  and  this 
he  will  have  to  do  the  whole  night 
through,  until  the  succeeding  day  sees 
him  entitled  to  the  honor  of  knight- 
hood. The  cold,  gray  light  of  early  dawn  strikes  upon  the  young  man,  who  wears  a 
white  garb  and  crimson  mantle,  and  he  fixes  his  glance  intently  upward,  as  he  grasps 
in  both  hands  his  great  two-handed  sword.  The  design  is  curiously  suggestive  of  the 
religious  feeling  influencing  the  knights  and  cavaliers  of  the  middle  ages.  The  contrast 
between  the  still,  mystical  light  of  the  chapel  and  the  rigid  but  powerful  human  form, 
is  very  striking ; while  there  is  interest,  technically  speaking,  in  the  effect  of  early  day- 


46  x 66. 

No.  359.  “ The  Vigil.”  John  Pettie,  R.  A. 

( Chantrey  Fundi) 


1 6 


English  Art  in  1884. 


No.  41O.  u Site  of  an  Early  Christian  Altar." 
John  Pettie,  R.  A. 


light  as  opposed  to  the  mechani- 
cal light  of  an  expiring  lamp 
hanging  between  the  pillars. 

This  picture  has  been  pur- 
chased by  the  Royal  Academy 
out  of  the  funds  of  the  “ Chan- 
trey  Bequest.”  Sir  Francis  Chan- 
trey,  the  well-known  English 
sculptor,  who  died  in  1841  with- 
out issue,  left  the  residue  of 
his  personal  estate,  amounting 
to  about  a hundred  thousand 
pounds  sterling,  to  his  wife  for 
life,  and  on  her  decease — which 
took  place  a few  years  ago — to 
the  Royal  Academy  of  Arts,  to 
England  by  living  artists, 
is  also  by  Mr.  Pettie.  The  scene  illus- 


“ The  method  adopted  in  fixing  the  orientation  of  churches  by  a 
pole  placed  in  the  ground ; the  sun’s  rays  appearing  above  the  horizon 
fixed  the  line  of  orientation.” 


be  expended  in  the  purchase  of  pictures  painted  in 
No.  410,  “ Site  of  an  Early  Christian  Altar ,” 


47  x 65. 


No.  258.  “ The  Morning  of  the  Battle  of  Agincourt.”  Sir  John  Gilbert,  R.  A. 


The  Royal  Academy. 


1 7 


trates  the  method  adopted  for  fixing  the  orientation  of  churches.  A large  group  of  priests 
and  others  is  assembled  in  the  outskirts  of  a forest  among  the  trees  and  felled  timber, 
watching  earnestly  for  the  first  rays  of  the  rising  sun,  in  order  to  determine  the  site  of  an 
altar.  Shading  their  eyes  with  their  hands,  they  are  just  encountering  the  first  brilliant 
gleams  of  the  god  of  day.  Apart  from  the  dignity  of  thought  in  the  subject  itself,  the 
effect  of  early  sunlight  is  very  skillfully  rendered. 

Sir  John  Gilbert,  R.  A.,  has  chosen  for  the  subject  of  his  one  Academy  picture,  “ The 
Morning  of  the  Battle  of  Agincourt ,”  and  has  sketched  for  us  here  the  three  tired  horse- 
men, which  occupy  nearly  the  whole  of  his  picture  in  the  large  room.  On  the  actual 
canvas  we  can  see  in  the  distance  a line  of  warriors — the  remnant  of  the  English  host — 
sitting,  as  Shakespeare  describes,  “like  fixed  candlesticks  with  torch-staves  in  their  hands,” 
and  “ their  poor  jades  bob  down  their  heads,  dropping  the  hides  and  hips,”  and  “ their  execu- 
tors, the  knavish  crows,  fly  o’er  them,  all  impatient  for  their  hour.”  This  is  a valuable 
historical  work,  painted  with  great  realism  and  verve ; Sir  John  Gilbert  having  exceptional 
knowledge  of  costume  and  details  of  the  period.  The  picture  is  grand  in  style,  and  full  of 
the  spirit  of  the  scene,  as  given  in  Shakespeare’s  play  of  “King  Henry  V”;  in  fact,  the 
artist  has  evidently  been  much  more  influenced  by  the  spirit  of  the  play  than  by  Hume  or 
any  other  historian.  Sir  John  Gilbert  is  a painter  in  water-colors  as  well  as  in  oils,  and  is 
president  of  the  principal  water-color  society  of  England. 

Next  in  order  we  may  refer  to  some  prominent  associates  of  the  Royal  Academy,  artists 
from  whom  the  full  members  are  elected  as  vacancies  occur. 

The  only  exhibited  works  this  year  by  Mr.  G.  H.  Boughton,  A.  R.  A.,  are  from  scenes 
in  North  Holland.  In  Mr.  Boughton’s  studio  we  see  from  time  to  time  other  subjects,  but 
the  English  public  will  know  this  artist  best  in  1884  by  his  sturdy  field-handmaidens  of 
Brabant,  and  his  views  of  that  strange  sea-shore  in  Holland,  where  the  villagers  nestle  under 
sand-hills,  protected  from  wind  and  wave  by  an  impenetrable  wall,  which  hides  even  the 
village  church-tower  from  those  who  approach  it  from  the  sea.  It  is  a wild  and  windy 
place  at  the  best  of  times,  inhabited  by  sturdy  peasants  who  cultivate  the  flat  country  and 
make  scanty  harvests,  both  from  sea  and  land ; but  it  has  special  attractions  for  the  artist 
in  summer-time  for  the  quaintness  of  the  scene.  The  soft,  atmospheric  effects,  the  costumes 
and  buildings,  lend  themselves  readily  to  the  artist’s  pencil.  Mr.  Boughton  has  told  us  of 
these  things  in  the  pages  of  “ Harper’s  Magazine,”  and  we  now  know  something  more  of 
the  color  and  character  of  North  Holland  by  his  exhibited  works.  Mr.  Boughton’s  own 
sketch  of  his  single-figure  picture,  a girl  carrying  a basket  of  cabbages,  exhibits  a stalwart 
figure  worthy  to  be  carved  in  stone  and  placed  beside  Mr.  Hamo  Thornycroft’s  statue  of 
“ The  Mower?  There  would  be  singular  appropriateness  in  the  juxtaposition  of  these  two 


3 


i8 


English  Art  in  1884. 


figures,  emblematic  of  field-labor  (see  “Sculpture”).  On  the  technical  quality  of  Mr.  Bough- 
ton’s  art  we  need  not  dwell  now  ; there  is  the  usual  feeling  for  refinement  of  colors  in  the 
picture  of  “ The  Field  Handmaiden  ” ; the  purple  of  the  cabbages,  and  the  brown  and  gray 


50  x 27. 


No.  80.  11 A Field  Handmaiden , Brabant .”  G.  H.  Boughton,  A.  R.  A. 


of  the  distant  village,  form  a pleasant  harmony  with  the  fair  hair  and  work-a-day  attire  of 
the  girl.  But  some  day,  not  far  distant,  we  hope  to  see  Mr.  Boughton  in  a new  field  of 
labor  altogether. 

Mr  P.  R.  Morris,  A.  R.  A.,  has  the  art  of  attracting  us  by  his  treatment  of  the  simplest 
incidents.  A little  child,  waiting  ready  dressed  for  a drive  in  the  park  (the  artist’s  own 


The  Royal  Academy. 


l9 


child,  by-the-way),  was  put  on  canvas  with  so  much  style  and  attractiveness  that  the  editor 
of  the  London  “ Graphic  ” newspaper  decided  to  reproduce  it  as  a colored  illustration  in  the 
Christmas  number  of  that  paper.  The  popularity  thus  attained  by  the  painter,  through  the 
medium  of  the  printing-press,  is  enormous,  no  less  than  six  hundred  and  fifty  thousand 
copies  having  been  printed  and  distributed  over  the  English-speaking  world.  Mr.  P.  R. 
Morris’s  picture  may  not  be  high  art,  but  it  is  innocently  attractive,  and  there  is  an  air  of 
refinement  which  has  proved  delightful  to  the  inmates  of  many  homes.  But,  as  a critic  justly 
remarks,  Mr.  Morris  is  not  at  his  best  in  painting  pictures  of  “overdressed  babies,  whose 


I 

iSal 


• , yAA 


No.  458.  u A Village  below  the  Sand-Dunes ” (“  Un  Village  pres  des  Dunes”).  G.  H.  Boughton,  A.  R.  A. 


raiment  is  from  Bond  Street,  and  the  texture  of  whose  countenances  is  that  of  the  costliest 
dolls  in  the  Burlington  Arcade.”  There  is  better  and  healthier  work  in  his  large  picture  of 
“ Sweethearts  and  Wives''  which  we  have  chosen  for  illustration.  There  is  a little  of  the 
tendency  to  overcolor  his  pictures  evident  in  this,  but  the  old  West  - Indiaman,  with  her 
white-painted,  yellow-stained,  and  weather-beaten  timbers,  coming  into  port  under  a summer 
sun,  forming  a background  to  the  gay  dresses  of  the  girls  on  the  quay,  forms  altogether  so 
bright  and  pleasant  a scene  that  we  may  thank  the  painter,  rather  than  blame  him,  for  put- 
ting so  much  light,  air,  and  gayety  of  color  into  a common  scene  at  an  English  seaport. 


20 


English  Art  in  1884. 


53^  x 35k 

No.  177-  “ Quite  ready." 

P.  R.  Morris,  A.  R.  A. 


Mr.  Morris  is  a painter  of  much  vivacity  and  origi- 
nality, and  everything  he  touches  has  a marked  per- 
sonality. Few  painters  are  more  rapid,  or  have  greater 
facility  with  the  brush. 

Of  the  many  delicate  and  refined  painters  of  genre 
in  England  (men  whose  work  is  not  much  seen  in 
public  exhibitions,  because  they  paint  for  private  com- 
missions), Mr.  Marcus  Stone,  A.  R.  A.,  is  one  of  the 
most  attractive.  FI  is  pictures  are  generally  painted  on 
a small  scale,  and  elaborated  with  the  utmost  care 
and  fastidiousness.  No  better  example  of  Mr.  Marcus 
Stone’s  style  could  have  been  selected  than  the  two 
pictures,  “ Fallen  out"  and  “ Reconciled which  he  has 
sketched  for  this  work.  The  harmonious  color  and 
careful  touch  of  the  brush  must  be  left  to  the  imagi- 
nation. All  Mr.  Stone’s  work  is  thorough,  and  the 
story  of  the  picture  is  generally  suggested  rather  than 
explained.  The  artist  is  the  son  of  Frank  Stone, 
R.  A.,  the  painter  of  “ The  Last  Appeal and  other  subjects  which  charmed  the  last  genera- 
tion of  Academy  visitors.  It  is  said  that  Mr.  Ruskin,  standing  one  day  in  front  of  a very 
popular  picture  by  Frank  Stone,  turned  to  the  artist,  who  happened  to  be  present,  and  said, 
“ Thank  you , Frank'.'  These  words  subsequently  formed  the  criticism  of  the  picture  in  Mr. 
Ruskin’s  printed  notes  of  the  Academy  Exhibition. 

Mr.  Marcus  Stone,  an  artist  from  childhood  and  by  tradition  de  famille , so  to  speak, 
will  probably  soon  be  in  the  ranks 
of  the  Royal  Academy,  of  which  he 
is  now  an  associate. 

No.  798,  “ Daniel  in  the  Lions' 

Den"  by  Robert  Thorburn,  A.  R.  A. 

Mr.  Thorburn,  in  whose  art  may 
still  be  traced  the  influence  of  his 
early  training  as  a miniature-painter, 
treats  this  subject  in  a somewhat 
original  manner.  The  prophet,  an 
aged,  bearded  man,  clad  in  a man- 
tle, stands  in  the  midst  of  the  terri-  No.  403.  “ Sweethearts  and  Wives.”  P.  R.  Morris,  A.  R.  A. 


The  Royal  Academy. 


2 I 


ble  beasts,  among  whom  he  has  been  cast  by  order  of  the  king.  Before  him  is  a radiant 
female  form — the  angelic  being  sent  by  the  Almighty  to  protect  his  servant.  The  motive 
of  this  design  is,  in  reality,  the  figure  of  the  angel,  that  of  Daniel  being  comparatively  of 


60  x 27.  60  x 27. 


No.  448.  “ Fallen  out."  No.  449.  “ Reconciled 

Marcus  Stone,  A.  R.  A. 

“We  fell  out,  my  wife  and  I, 

Oh,  we  fell  out,  I know  not  why, 

And  kissed  again  with  tears.” 


secondary  importance  in  the  background.  It  was  otherwise  in  the  very  remarkable  picture 
of  this  subject,  painted  by  Mr.  Briton  Riviere,  R.  A.,  some  few  years  ago,  and  with  which 
we  are  all  so  familiar  from  the  engravings,  wherein  the  whole  interest  of  the  design  is  made 
to  center  with  surprising  power  in  the  solitary  figure,  with  back  turned  to  the  spectator,  of 
the  grand  old  prophet. 

No.  35,  “ The  Shy  Lover]'  by  G.  A.  Storey,  A.  R.  A.,  is  a work  instinct  with  the  quiet 
humor  with  which  the  artist  evidently  desired  to  invest  the  design.  A young  couple,  lady 
and  gentleman,  seated  on  a garden-bench,  are  apparently  afflicted  with  that  bar  to  all  human 
progress — a distressing  degree  of  bashfulness.  The  lady  is  seated  at  one  end  of  the  bench,  a 


22 


English  Art  in  1884. 


34  X 48. 

No.  798.  “ Daniel  in  the  Lions'  Den." 

Robert  Thorburn,  A.  R.  A. 

“ Then  Daniel  said  unto  the  king,  ‘ My  God  hath  sent  his 
angel,  and  hath  shut  the  lions’  mouths.’  ” 


book  upon  her  lap,  and  with  eyes  modestly  cast  down  and  face  turned  away,  while  she 
somehow  advances  one  hand  in  the  direction  of  some  flowers  which  her  admirer  has  ven- 
tured to  push  toward  her  upon  the 
seat.  He,  at  the  other  end  of  the 
bench,  and  holding  his  cap  up  so  as  to 
partially  screen  his  face,  looks  the  prey 
of  a mauvaise  honte  which  we  much 
question  if  his  companion  altogether 
approves.  If  the  poor  fellow  would 
but  take  heart  of  grace  and  remember 
that  “ faint  heart  never  won  fair  lady,” 
he  might  possibly  have  a better  pros- 
pect of  succeeding  in  his  suit. 

The  Old  World  picturesqueness 
which  attracted  Samuel  Prout  and  the 
English  painters  of  the  beginning  of 
the  century,  still  attracts  and  repays 
the  artist.  The  local  costumes  not 
quite  extinct,  the  old  towers  and  churches,  the  high-pitched  roofs  and  gables  covered  with 
carved  wood-work,  send  many  artists  to  Rouen  and  other  parts  of  Normandy.  Mr.  W. 
J.  Hennessy,  living  much  near  Honfleur,  at  the  mouth  of  the  Seine  (whose  work  was  in 
the  Grosvenor  Gallery),  and  his  friend  Mark 
Fisher,  still  send  us  pictures  of  Normandy 
orchards  and  bits  of  pastoral  life.  (See 
sketches  in  Grosvenor  Gallery.) 

Mr.  Eyre  Crowe,  in  the  sketches  before 
us,  depicts  more  of  the  life  and  activity  of 
the  town.  Rouen  is  a great  commercial  cen- 
ter in  the  north  of  France,  and,  like  Birming- 
ham in  England,  a “fish-center”  for  distribu- 
tion over  the  country.  The  scene  in  the 
fish-market  is  seldom  visited  by  artists,  but  it 
is  worth  finding  out.  The  old  court-yard  of 
the  school  at  the  Aitre,  St.  Maclou,  is  well 

known,  and  permission  can  easily  be  obtained  to  sketch  the  wood-carving  and  architecture 
of  the  fifteenth  century,  which  stil!  exists  in  the  cloisters  and  precincts  of  the  famous  church 


No.  35.  “ The  Shy  Lover." 

G.  A.  Storey,  A.  R.  A. 


26  x 36. 


The  Royal  Academy 


23 


26  X 36. 

No.  1627.  “ Fish-Market  at  Rouen.”  Eyre  Crowe,  A.  R.  A. 


of  St.  Maclou,  at  Rouen.  Mr.  Eyre  Crowe  has  grouped  the  scholars  with  singular  dexterity 
in  the  sketch  before  us,  and  has  given  an  interest  to  the  scene  which  many  an  artist  would 
have  missed.  It  is  worth  while  for  the  reader  to  look  along  the  line  of  the  young  people 
in  this  illustration  ; there  is  nothing  more  life-like  in  the  book. 


43  x 23. 

No.  169.  “ School  at  the  Ait  re,  St.  Maclou , Rouen.”  Eyre  Crowe,  A.  R.  A. 


24 


English  Art  in  1884.. 


No.  552,  “ The  Scramble  at  the  Wedding ,”  by  J.  B.  Burgess,  A.  R.  A.,  is  a subject  illus- 
trating domestic  life  in  Spain.  The  wedding-party  is  leaving  the  church  after  the  ceremony, 
and  the  happy  bridegroom,  with  his  lovely  wife  leaning  trustfully  upon  his  arm,  is  acknowl- 
edging the  congratulations  and  good  wishes  of  many  friends.  The  dark-eyed  bride,  who  is 
glancing  downward,  is  the  cynosure  of  all  eyes,  and,  in  her  pink  dress  and  the  ever-becom- 
ing mantilla,  is  a splendid  realization  of  Spanish  beauty.  In  the  group  of  girls  upon  her 
left,  one  at  least  looks  as  if  she  thought  that  she  herself  at  one  time  might  have  had  some 
hope  of  occupying  the  young  wife’s  happy  position.  Upon  the  left  a cavalier  on  horse- 
back liberally  showers  small  coins  among  the  urchins  and  others  assembled.  One  little  lass 
offers  a bouquet  to  the  bride,  and  in  the  foreground  gamins  scramble  furiously  for  the 


x 7T- 

No.  552.  “ The  Scramble  at  the  Wedding."  J.  B.  Burgess,  A.  R.  A. 

coins  so  liberally  bestowed,  and  there  is  a pretty  touch  of  sentiment  in  the  incident  of  the 
little  beggar-girl  with  her  tambourine  on  the  right,  eagerly  followed  by  the  hesitating  steps 
of  her  poor,  old,  blind  grandfather.  Mr.  Burgess,  who  executed  the  picture,  is  now  the 
most  able  exponent  of  Spanish  domestic  genre  subjects  in  England.  Educated  in  the 

schools  of  the  English  Royal  Academy,  where  he  was  a student  in  1848,  and  a silver 

medalist,  he  was  early  impressed  with  a great  admiration  of  the  works  of  the  late  John 
Phillip,  R.  A.,  whose  manner  of  art  he  has  adopted — without,  however,  the  least  degree  of 
servile  imitation.  Mr.  Burgess  has  spent  a considerable  time  in  Spain,  where  he  has  accu- 
mulated a vast  number  of  sketches  done  upon  the  spot  as  material  for  future  pictures. 

Unlike  Mr.  Edwin  Long,  R.A.,  and  other  followers  of  the  school  of  John  Phillip,  who  have 
forsaken  Spanish  subjects  for  other  branches  of  art,  Mr.  Burgess  has  found  in  Spain,  its 


FAITH. 

E.  Armitage,  R.  A. 


The  Royal  Academy. 


25 


'k 


customs,  people,  and  climate,  a motive  for  art-work  of  which  he  has  never  been  weary,  and 
from  his  first  more  important  picture  “Bravo  Toro ,”  to  the  present  time,  he  has  followed 
with  unfailing  fidelity  the  delineation  of  Spanish  life  and  character.  The  artist  exhibits  two 
other  pictures  at  the  Academy  in  portraits  of  E.  A.  Goodall,  Esq.,  and  the  Honorable  Mrs. 
H.  A.  Laurence,  but,  clever  though  they  undoubtedly  are,  we  have  no  desire  to  see  the  artist 
abandon  for  portraiture  what  is  beyond  all  question  his  real  role  in  art. 

Mr.  Luke  Fildes,  A.  R.  A.,  has  sketched  the  central  figure  of  his  chief  contribution  to 
the  Academy  entitled  “ Venetian  Life ,”  No.  390.  This  artist  is  one  whose  genius  will  not 


be  denied.  It  was  but  a few  years  ago  that  he  startled  the  world  of  art  with  his  picture 
of  “ Casuals ” — a work  so  powerful,  instructive,  and  impressive  that,  had  he  but  followed  on 
with  other  productions  of  like  quality,  his  future  fame  was  assured.  In  succeeding  years  we 
had  from  his  brush  “ The  Widower ,”  and  other  subjects,  strong  in  individuality,  but  with  a 
uniform  character  of  melancholy  in  motive  than  was  hardly  to  be  desired.  Determined  to 
free  himself  from  the  reputation  of  being  painter  of  dismal  subjects  only,  the  young  artist 
has  this  year  struck  out  a totally  new  line  for  himself,  and  that,  it  is  only  fair  to  add,  with 
complete  success.  Mr.  Fildes  has  been  to  Venice,  where  his  brother-in-law,  Henry  Woods, 


4 


26 


English  Art  in  1884. 


A.  R.  A.,  resides,  and,  in  that  city  of  marble  palaces  and  generally  bright  influences,  the 
inspiration  he  desired  came  to  him.  He  painted  on  the  spot  a large  picture  illustrating 
every-day  “ Venetian  life.”  In  the  Piazza  del  Marco,  or  in  the  grand  places  of  that  peerless 
city,  one  does  not  see  the  real  life  of  Venice,  but  let  the  visitor,  in  the  evening,  traverse 
some  of  the  by-ways,  and  he  will  notice  groups  of  work-girls  and  others,  who,  seated  at  the 
entrances  of  the  palaces,  in  which  even  the  poorest  now  lodge,  ply  needle  and  thread,  have 
their  long  dark  hair  combed  out,  and  meantime  make  the  air  vocal  with  songs  and  chatter. 
Dressed  in  costumes  the  lightest  and  sometimes  the  most  brilliant  in  color,  and  with  busy 
fingers  and  not  less  active  tongues,  very  often  these  characteristic  groups  pass  the  best  part 
of  the  night  thus  engaged,  under  the  lovely  blue  sky  of  the  famous  southern  city.  A won- 
derfully pretty  girl,  with  rich,  reddish-colored  hair,  is  seated,  holding  a ball  of  thread  and  some 
muslin  on  her  lap.  She  is  dressed  in  light  blue,  and  her  costume,  like  that  of  her  compan- 
ions, is  bright  and  pretty  in  the  extreme.  Mr.  Fildes  is  to  be  congratulated  upon  changing 


No.  1546.  “ Pressing  to  the  JVest."  Hubert  Herkomer,  A.  R.  A. 

his  class  of  subject  in  his  pictures.  We  admit  the  strength,  expression,  and  value  of  his 
forme  designs,  but  there  was  always  the  fear  that  he  might  have  fallen  away,  as  an  illus- 
trate!' of  only  one  class  of  subjects,  and  that  a morbid  one.  Another  picture  by  this  artist 


The  Roy  a l Academy. 


2 7 


is  a Venetian  flower-girl,  a figuse  nearly  life-size,  with  blue-black,  curly  hair,  in  bright-green 
shawl  and  gay  dress,  standing  near  a blaze  of  flowers.  Thus,  the  Venice  of  to-day,  described 
so  well  by  Mr.  W.  D.  Howells,  and  painted  with  such  subtilty  and  grace  by  Van  Haanen, 
is  depicted  without  much  reticence  of  color,  but  with  unmistakable  power. 


No.  8l0.  “ The  Saturday  Dole  in  Worcester  Chapter-House.”  Val  Princep,  A.  R.  A. 

Mr.  Hubert  Herkomer,  A.R.A.,  sends  to  the  Academy  the  picture  of  “ Pressing  to  the 
West”  the  studies  for  which  he  made  when  visiting  America  last  year.  This  artist,  who 
thirty-three  years  ago  himself  landed  at  New  York  city  from  Bavaria,  and  was  taken  by 
his  parents  to  Cleveland,  Ohio,  was  much  struck  by  the  picturesque  aspect  of  the  scene  in 
Castle  Garden,  in  the  dreary  building  set  apart  for  immigrants  at  the  present  time.  Here 
was  material  exactly  suited  to  a painter  of  Mr.  Herkomer’s  temperament,  imagination,  and 
energy.  The  accompanying  sketch  will  indicate,  to  those  who  did  not  see  the  unfinished 
original  in  New  York,  how  the  painter  has  worked  out  his  idea,  bringing  together  the  vari- 
ous nationalities,  and  grouping  them  in  one  powerful,  pathetic  picture.  It  is  a drama  of 
many  acts  brought  before  us  in  one  scene. 

It  may  be  interesting  to  note  how  a picture,  which  created  much  interest  in  New  York 
during  its  progress,  was  received  in  England  by  the  press.  “We  have  little  doubt,”  says  the 


28 


English  Art  in  1884. 


“Pall  Mall  Gazette,”  “that  this  gloomy  and  singular  composition  will  be  the  most  popular 
picture  of  the  year.”  The  London  “Observer”  says,  “The  execution  seems  purposely  rough, 
and  the  color  brown  and  unpleasant,  but  it  is  painted  with  prodigious  vigor”;  and  the 


“Daily  News”  speaks  of  it  as  “a  composition  which  has  no  mission  of  beauty,  and  is 
instructive  rather  than  agreeable.” 

As  an  artistic  effort  this  picture  will  scarcely  add  to  the  reputation  of  the  painter  of 
“ The  Last  Muster'.'  The  skill  is  undeniable,  and  few  painters  could  bring  together  such  a 
variet)  of  character  with  more  force  and  individuality — the  easy-going  Irish,  the  Germans, 
Hungarians,  Poles,  Italians,  and  others — but  the  handling  is  decidedly  rough,  and  the  picture 


The  Royal  Academy. 


29 


seems  to  want  relief — if  not  a touch  of  actual  comedy,  at  least  that  grim  relief  that 
Hogarth  would  have  given  to  such  a scene. 

No.  810,  “ The  Saturday  Dole  in  Worcester  Chapter-House : A Relic  of  the  Olden 
Time ,”  by  Val  Princep,  A.  R.  A.  This  is  the  interesting  record  of  a charitable  bequest  to 
the  poor  of  the  city  of  Worcester.  A large  quantity  of  bread  is  distributed  under  the 
superintendence  of  the  clergy  in  the  chapter-house,  and  the  gathering  of  old  and  young 
upon  these  occasions  of  those,  not  unfrequently,  who,  but  for  this  most  seasonable  charity, 
would  be  in  dire  want,  is  a sight  calculated  to  arouse  feelings  both  of  benevolence  and 
gratitude* 

The  painter  of  “Romeo  and  Juliet ,”  Mr.  Frank  Dicksee,  whose  illustrations  to  Longfel- 
low’s “Evangeline”  are  well  known,  made  a great  success  in  the  Academy  in  1877  by 
a picture  called  “ Harmony ,”  a girl  seated  at  an  organ  and  a young  man  listening.  It  was 
an  ambitious  work  for  a young  artist,  but  it  was  excellently  placed  in  the  center  of  a wall 
in  the  first  gallery,  purchased  by  the  Academy,  and  afterward  engraved.  Since  that  time 
Mr.  Dicksee  has  exhibited  annually  important  pictures,  and  in  1881  was  made  an  Associate 
of  the  Academy.  There  is  very  beautiful  painting  in  his  parting  of  “ Romeo  and  Juliet ,”  with 


48  x 108. 


No.  805.  “ A Fen  Farm.”  Robert  W.  Macbeth,  A.  R.  A. 

“ Cusha  ! cusha  ! cusha  ! calling, 

For  the  dews  will  soon  be  falling.” 

the  light  of  morning  breaking  in  the  distance  and  just  tingeing  the  laurel-leaves  as  the 
lovers  part.  It  is  a powerful  picture,  much  finer,  we  imagine,  than  the  majority  of  visitors 
to  the  Academy  discovered,  as  it  hung  in  a corner  of  a gallery.  However,  an  engraving  is 


* In  the  absence  of  a sketch  of  this  picture  by  the  artist,  we  have  inserted  a photographic  reproduction  by  the  Lefm- 
man  process.  It  will  serve  to  indicate  the  composition. 


3° 


English  Art  in  1884. 


in  progress  which  will  give  the  details  of  costume  and  texture  as  they  have  never  yet  been 
seen.  There  is  no  doubt  that  the  painting  of  details  and  the  effect  of  break  of  day  are 
the  artist’s  strong  points  in  this  work.  But  the  painter  of  “Evangeline,”  in  1879,  with  the 
emigrants  on  the  shore,  “when  the  sun  went  down,”  has  a reserve  of  power  of  which  we 
shall  hear  more  in  future  exhibitions. 

No.  805,  “A  Fen  Farm ,”  by  Robert  Walker  Macbeth,  A.  R.  A.,  is  one  of  the  Cam- 
bridgeshire or  Lincolnshire  scenes  in  which  the  artist  delights.  In  a farm  in  the  low, 
marshy  land  of  the  fen  districts,  a buxom,  golden-haired  country  lassie  stands  at  the  farm- 


56  x 77. 

No.  88l.  “ After  Culloden : Rebel- Hunting.”  Seymour  Lucas. 


gate  she  is  holding  open,  while  she  lustily  calls  into  their  night’s  resting-place  her  charge 
of  young  cattle.  The  cows  and  calves  obey  the  familiar  invitation,  but  watch  warily  the 
dog  standing  close  to  his  mistress’s  side.  The  sky  is  rendered  luminous  by  the  setting  sun, 
which  also  brightens,  with  its  departing  radiance,  the  living  objects  in  the  scene.  Mr.  Mac- 
beth, who  is  a Scotch  artist,  was  born  in  Glasgow  in  1848,  and  may  be  considered  fortu- 
nate in  being  elected  an  Associate  of  the  Academy  while  still  so  young.  He  has  not  fol- 
lowed the  line  of  art  of  his  father,  Norman  Macbeth,  the  well-known  portrait-painter,  but 
there  can  be  little  doubt  that  the  early  artistic  associations  and  training  which  fell  to  his 
lot  have  been  of  no  little  value  in  securing  his  hitherto  remarkably  successful  career. 


The  Royal  Academy. 


3 1 


No.  88 1,  “ After  Culloden : Rebel-Hunting ,”  by  Seymour  Lucas,  is  another  of  the  pict- 
ures purchased  by  the  Royal  Academy  from  the  Chantrey  Bequest  Fund.  In  a Scotch 
smithy  in  the  Highlands,  after  the  Duke  of  Cumberland  had,  in  1746,  defeated  Prince 
Charles,  the  last  of  the  Stuarts,  at  Culloden,  some  English  soldiers  are  busy  on  the  trail 
of  rebel  Scots.  The  smiths — fine,  brawny  fellows — are  busy  at  their  trade  when  the 
duke’s  soldiers,  sword  in  hand,  enter.  Whether  these  good  fellows — or  any  of  them — were 
concerned  in  the  recent  fierce  fight,  which  cost  them  between  two  and  three  thousand  men 
slain  upon  the  field,  we  will  not  undertake  to  say,  but  certainly  more  than  one  of  their 
number  present  an  appearance  of  determination  and  strength  that  would  augur  no  good 
thing  for  those  who  are  to  make  them  prisoners  and  lead  them  off  to  punishment.  The 
picture  is  a remarkable  example  of  the  steadily  increasing  powers  of  the  young  artist,  Mr. 
Seymour  Lucas.  There  is  a little  conventionality  apparent  in  the  arrangement,  but  the 
painting  is  thorough  and  the  color  good  ; and  the  general  verdict  in  London  is  that  it  is 
“ the  most  satisfactory  purchase  of  the  year  out  of  the  funds  of  the  Chantrey  Bequest.” 

No.  559,  “ Consulting  the  Oracle ,”  by  J.  W.  Waterhouse.  Last  year  this  artist  exhibited 
at  the  Academy  a picture  of  the  Emperor  Honorius — a scene  in  Italian  court-life  in  the 
fifth  or  sixth  century.  This  picture  excited  attention  as  a work  of  considerable  promise,  but 
it  scarcely  led  the  way  to  so  fine  a production  technically  as  the  one  we  have  now  to 


48  X 78. 

No.  559-  “ Consulting  the  Oracle .”  J.  W.  Waterhouse. 


remark  upon.  The  subject  Mr.  Waterhouse  has  selected  is  singular,  as  it  relates  to  a prac- 
tice among  the  Eastern  nations  in  ancient  times,  when  they  slaughtered  a man,  cut  off  his 
head,  and  put  it  in  spices  and  oil.  They  then  wrote  the  name  of  an  evil  spirit  on  a golden 
plate,  placed  it  under  the  tongue,  and,  the  head  being  fastened  to  the  wall  and  lamps  lighted, 


32 


English  Art  in  1884. 


they  knelt  down  in  adoration,  when  it  was  said  the  tongue  began  to  utter  divinations. 
Such  was  the  singular  idea  of  this  particular  oracle,  the  diviners  becoming  so  excited  that 
they  imagined  they  heard  a voice  whispering  future  events.  The  artist’s  design  shows  to  us 
the  interior  of  a temple  with  marble  floor,  and  upon  the  left  is  affixed  to  the  wall  the 
ghastly  human  head,  in  front  of  which  the  diviner  is  listening  to  the  imaginary  words  of 
terrible  import,  and  repeating  them  to  a group  of  women,  seated  around  in  a semicircle. 


No.  14.  “ The  Very  Image."  Joseph  Clark. 

The  character  in  the  listeners  is  remarkable.  Some  are  bowed  down  with  anguish  at  the 
message  just  conveyed  to  them  ; others  are  hopeful ; and  others,  again,  are  listening  in  rapt 
attention.  The  costumes  are  varied  and  beautiful,  the  expressions  of  the  faces  also  being 
well  expressed.  The  semi-obscurity  of  the  building,  lighted  by  oil-lamps  burning  before  the 
face  of  the  dead,  the  natural  excitement  of  the  diviner,  and  the  semicircle  of  listeners  in 
the  spring-time  of  life,  form  altogether  a remarkable  picture — remarkable  especially  for  good 
color  and  quality. 


The  Roy a l Academy . 


33 


No.  14,  “ The  Very  Image]'  by  Joseph  Clark.  The 
group  here  consists  of  a young  artist  standing,  palette  and 
brushes  in  hand,  in  some  humble  country  cottage.  He  has 
just  finished  his  picture  standing  upon  the  easel,  which  an 
old  granddame  is  expressing  high  approval  of,  while  her 
good  man  indorses  her  opinion,  and  their  little  chubby 
grandson  sits  upon  the  floor  doing  all  the  mischief,  time 
will  admit  of,  with  the  artist’s  camp-stool.  The  picture  on 
the  easel  may  be  the  interior  of  the  cottage  itself,  with  the 
admiring  old  couple  introduced,  and  perhaps  the  child  ; but, 
at  any  rate,  the  picture  is  admired,  and  the  painter  has  the 
satisfaction  of  having  an  approving  critic.  The  contrast  of 
stalwart  manhood  with  trembling  old  age,  and  the  charm 
of  childhood,  will  also  not  be  overlooked  by  the  observant. 

For  many  years  (without  any  special  recognition  from  the 
Academy)  has  Mr.  Joseph  Clark  had  similar  subjects  on  the  walls,  interiors  painted  with 
the  precision  and  certainty  of  the  old  Dutch  masters ; and,  like  them,  making  every  detail 
of  household  life  an  interesting  part  of  the  composition. 

A refined  and  graceful  picture,  gray  in  tone,  lighted  by  a touch  of  blue  in  the  peacock’s 
plume,  is  Mr.  Perugini’s  “Idle  Moments'.'  The  action  of  drawing  the  feathers  through  the 

hand  gives  the  motive  of  the  composition.  This  artist’s 
method  of  painting  is  highly  finished  and  careful,  resem- 
bling in  its  style  that  of  Sir  Frederick  Leighton.  Mr. 
Perugini  married  Kate,  daughter  of  the  late  Charles  Dick- 
ens. This  lady’s  portraits  of  children  are  very  successful, 
and  are  generally  seen  in  our  exhibition. 

A young  member  of  the  talented  family  of  the  Mont- 
albas  is  represented  (No.  880)  in  a Venetian  girl  going  to 
a well  ; her  sister  Ellen  is  a most  skillful  portrait-painter, 
and  exhibited  two  portraits  of  ladies  this  year.  Examples 
of  the  work  of  Clara  and  H.  S.  Montalba  will  be  found 
in  this  volume. 

Among  the  younger  painters  whose  work  is  of  great 
interest  and  promise  we  should  mention  Mr.  Herbert 
Schmalz.  No  picture  this  year  excited  more  interest  during 
its  progress  than  “ Too  late]'  a large  and  carefully  thought- 


to  the  Well.” 
Hilda  Montalba. 


C.  E.  Perugini. 


5 


3+ 


English  Art  in  1884- 


out  picture,  exhibiting  great  power  on  the  part  of  the  painter.  The  solemn  grouping  of  the 
figures  round  the  body  of  the  bride,  the  management  of  color  in  the  morning  light,  and  the 
painting  of  the  interior  and  accessories  of  the  palace  of  a Norse  chieftain  on  a very  large 
canvas,  went  far  to  make  a great  success.  But  the  figure  of  the  returning  warrior,  who 
arrives  to  find  his  young  wife  dead,  is  less  successful  than  the  rest  of  the  picture.  Mr. 
Schmalz  had  another  picture  in  the  Grosvenor  Gallery. 


62  x 100. 


No.  827.  “ Too  late!"  Herbert  Schmalz. 

Of  Mr.  J.  D.  Linton,  of  whose  fine  picture  of  “ The  Declaration  of  War  " we  give  a 
reproduction,  we  have  spoken  in  the  section  devoted  to  water-colors.  It  will  be  interesting, 
however,  to  give  a sketch  of  his  principal  works  in  oils,  communicated  by  the  artist,  which 
appeared  in  a London  newspaper : 

“The  President  of  the  Royal  Institute  of  Painters  in  Water-Colors  has  made  a reputa- 
tion as  an  oil-painter  principally  by  a single  series  of  pictures.  This  is  the  only  way  in 
which  we  can  account  for  the  fact  that  one  of  the  first  craftsmen  of  the  age  remains  out- 
side the  ranks  of  the  Royal  Academy.  That  body  considers  painting  in  oils  as  alone 
worthy  of  its  attention,  and,  until  1880,  Mr.  Linton  was  simply  one  of  the  best  of  living 
water-color  painters.  But  in  1879  he  had  the  happy  inspiration  of  furnishing  a great  room 
with  five  large  oil-pictures,  representing  the  life  of  a soldier  in  the  sixteenth  century.  It 
will  not  be  the  least  notable  fact  about  the  Royal  Academy  of  1884  that  it  will  contain 
the  best  installment  of  this  extremely  interesting  series.  The  five  pictures  have  not  been 
exhibited  in  their  proper  order.  This  is  their  true  distribution:  ‘ The  Declaration  of  War' 
Roya’  Academy,  1884;  ‘ The  Benediction ,'  Royal  Academy,  1881;  ‘ The  Surrender ' Royal 
Academy,  1883;  ‘ Victorious ,’  Grosvenor  Gallery,  1880;  ‘ The  Banquet',  Royal  Academy, 


/ 


THE  PET  PLANT. 
H.  S.  Marks,  R.  A. 


The  Royal  Academy. 


35 


1882.  The  legend  running  through  them  may  be  thus  rapidly  defined:  A young  soldier  is 
in  the  service  of  a German  prince  who  declares  war  against  the  Turk ; he  is  solemnly 
blessed  and  knighted  in  the  cathedral;  he  attacks  the  principal  fortress  of  the  Turk  and 
storms  it ; he  returns  to  his  prince  covered  with  glory ; and  is  honored  with  a public 
banquet  of  congratulation.  It  may  be  a matter  of  some  interest  to  mention  that  throughout 
the  series  many  of  the  heads  are  portraits.  The  young  prince  is  Mr.  E.  J.  Gregory, 
A.  R.  A. ; his  minister  of  state  is  Mr.  Brewtnall,  the  distinguished  water-color  painter,  and 
the  faces  of  several  other  kindred  artists  may  be  detected  by  the  curious. 

“ The  picture  of  this  year,  ‘ The  Declaration  of  War]  though  the  last  painted,  is  the 
first  of  the  series.  We  stand  in  the  interior  of  a Byzantine  palace,  which,  presumably,  from 
the  order  of  its  architecture  and  the  nature  of  its  ornaments,  stands  not  far  from  the  Adri- 
atic— in  Istria,  perhaps,  or  Dalmatia — although  the  arms  which  we  see  embroidered  in  gold 
and  black  on  the  blue  arras  are  the  arms  of  Bohemia.  At  the  top  of  a low  flight  of  mar- 
ble steps,  the  young  prince  of  the  state,  Herzog  or  Landesherr,  owning  no  suzerain  but  the 
Kaiser,  stands  in  a splendid  attitude  of  wrath,  rending  the  parchment  treaty  which  the  two 
stolid  embassadors  from  the  Grand  Turk,  who  stand  below  him  on  the  left-hand  side,  have 
brought.  The  embassadors  bow  with  a dignified  resignation,  but  evidently  all  the  Germans 
sympathize  with  their  prince.  Behind  him,  from  one  door,  the  Church  gives  him  her  sup- 
port in  a stream  of  priests  and  acolytes,  headed  by  a blonde  Teutonic  bishop.  On  the 
other  side  the  slender  young  soldier,  a mere  stripling  in  armor,  who  is  to  be  the  hero  of  the 
series,  is  presented  as  general  of  the  coming  war  by  the  minister  of  state,  who  advances  in 
a long  robe  of  vair.  At  the  left-hand  corner  of  the  picture  the  lawyers  form  a picturesque 
group  over  their  codes  and  Latin  formulas.  The  color  of  the  whole  picture  is  sumptuous. 
The  simple  green  and  red  of  the  flowing  robes  of  the  embassadors  contrast  with  the  elabo- 
rate richness  of  the  prince’s  dress.  By  the  Turks,  on  a carved  marble  seat  of  florid  Re- 
naissance work,  stand  the  useless  gifts  which  they  have  brought  with  them  from  their 
Orient. 

“ Mr.  Linton  thinks  it  yet  possible  that  he  may  be  tempted  to  add  an  appendix  to  the 
series.  He  would  like  to  represent  his  soldier  in  old  age,  still  wearing  the  costume  of  his 
glorious  youth,  and  serving  a new  young  Herzog,  whose  ways  are  not  his,  and  whose 
fashions  are  half  a century  later.” 

Mr.  Linton  has  also  exhibited  several  small  and  very  powerful  pictures  in  oils,  princi- 
pally in  the  Grosvenor  Gallery  in  1879. 

In  the  year  1876  a poetical  picture,  by  Mr.  Lrederick  Morgan,  attracted  much  attention 
in  the  Royal  Academy.  It  was  a large  work,  representing  hay-makers  returning  from  work 
in  the  glow  of  a summer’s  evening.  Since  that  time  this  artist  has  been  a regular  contribu- 


36 


English  Art  in  1884. 


tor  to  the  exhibitions,  but  he  has  seldom  painted  with  more  success  than  in  1884.  We 
have  noticed  elsewhere  his  picture  of  children,  but  the  present  sketch  (No.  147,  “ Besieged ”) 
indicates  his  principal  work.  It  is  accurate  in  the  lines  of  the  composition  (for  it  is  by 
the  artist’s  own  hand),  but  gives  little  idea  of  the  skillful  management  of  sunlight  on  the 
features  of  the  woman  and  child,  or  of  the  delicate  balance  of  color  throughout.  This 
picture,  happy  in  idea,  natural  in  action,  presents  us  with  a scene  of  rustic  life  in  summer 
on  the  southern  side  of  the  Alps. 


No.  701,  “La  Cocarde  Tricolore ,”  by  G.  P.  Jacomb-IIood.  A young  mother  standing 
at  a window  in  Paris,  rocking  her  child’s  cradle  with  one  foot  while  she  sews  together  the 

fatal  tricolor  cockade  her  husband  is  to  wear  in  that  awful  period  of  French  history  to 

which  the  picture  refers.  The  incident  recalls  memories  never  to  be  forgotten  in  the  history 
not  only  of  “ la  belle  France  ” but  of  Europe.  A great  nation  roused  to  wrath  by  a long 
system  of  cruelty  and  oppression  that  was  unendurable ; the  consequent  destruction  of  king, 
queen,  and  nobles,  who,  either  willingly  or  by  force  of  circumstances,  had  become  oppressors 

and  brought  to  one  of  the  fairest  and  most  beautiful  of  cities  a “ Reign  of  Terror,”  a very 

carnival  of  blood.  Over  that  time  we  may  willingly  draw  a veil,  when  the  fierce  passions 


The  Royal  Academy. 


37 


60  x 42. 

No.  1622.  “ The  Marsh-King' s Daugh- 

ter." John  Scott. 


of  man  were  in  all  their  fury.  But  the  French  Revo- 
lution is  ever  a favorite  subject  with  the  painter.  Here 
is  the  young  wife  of  a Paris  ouvrier  busily  plying 
needle  and  thread,  constructing  the  distinctive  badge 
which  by-and-by  is  to  be  worn  by  her  husband  at  that 
terrible  festival  of  the  guillotine.  Will  she  also  be  one 
of  the  many  of  her  sex  who  used  to  sit,  as  at  a theatre, 
calmly  working  while  the  bloody  massacres  were  going 
on?  At  present  she  looks  thoughtful  and  as  if  half 
alarmed  at  the  tumult  in  the  streets  below,  and  we 
care  not  to  think  how  she  may  soon  be  an  approving 
participator  in  the  scenes  of  blood  taking  place  around. 

This  picture  is  one  of  the  successes  of  the  year  by  a 
young  exhibitor. 

No.  693,  “ Disinherited ,”  by  Laslett  J.  Pott.  The 
scene  here  depicted  reminds  us  of  Hogarth’s  “ Rakes 
Progress'.'  It  is  the  oft-told  story  of  the  lavish  thought- 
lessness and  waste  of  youth.  A young  man,  after  doubt- 
less countless  follies,  and  as  constant  forgiveness,  has  at  length  aroused  his  father’s  wrath, 

has  met  with  the  reward  of  his  misdeeds,  and  is  seen 
descending  the  stairs  of  the  mansion  a beggar.  There 
is  no  mistake  about  it,  for  the  scene  tells  its  own  story 
most  powerfully.  The  young  man  has  been  a spend- 
thrift, squanderer,  and  at  last  comes  the  day  of  reckon- 
ing when  the  outraged  parent,  who  has  heard  the  oft- 
repeated  tale  of  his  son’s  offenses,  until  the  time  of 
forgiveness  is  gone,  stands  indignantly  at  the  head  of 
the  stairs  ordering  the  offender  to  depart  from  his 
house.  But  there  is  still  a pleading  voice  to  be  heard 
in  favor  of  young  scapegrace,  and,  come  what  may,  a 
mother’s  love  is  not  to  be  exhausted.  And  thus  we 
see  the  mother  striving  to  allay  the  storm  of  just  in- 
dignation ; but  all  is  useless,  and  with  bowed  head  and 
humbled  mien  the  heir  of  the  house  quits  his  father’s 
house,  while  the  servants,  as  their  young  master  passes 
No.  693.  “ Disinherited L.  J.  Pott.  from  his  home  forever,  by  their  respectful  obeisance 


3§ 


English  Art  in  1884. 


suggest  that  possibly  the  young  sinner  was,  after  all,  not  wholly  unpopular,  and  may  have 
been  his  own  greatest  enemy.  The  artist,  Mr.  L.  J.  Pott,  has  more  than  once,  in  exhibited 
works  of  very  considerable  power,  made  fair  bid  for  the  honor  of  associateship,  which,  if  he 
is  but  true  to  himself  in  the  way  in  which  he  is  now  working,  may  hardly  be  much  longer 
denied  to  him. 

No.  374,  “ The  Peace-Maker ,”  by  G.  B.  O’Neill  (sketched  on  page  46),  a group  in 
which  a little  girl  is  attempting  to  re-establish  the  entente  cordiale  between  two  school-boys 
who  have  fallen  out,  is  an  interesting  and  satisfactory  little  study  of  the  class  to  which  we 
have  been  now  referring. 

No.  662,  “ Saved  from  the  Snow?  by  Arthur  Stocks.  A group  consisting  of  a shepherd 
and  his  family  gathered  round  a small  lamb  which  the  man  holds  upon  his  knees.  The 


No.  662.  “ Saved  from  the  Snow."  A.  Stocks. 

weather  has  been  hard,  and  perhaps,  far  away  from  its  mother,  in  some  wild  mountain- 
pass,  the  poor  little  lamb  has  been  overcome  in  a snow  storm,  and  would  have  perished  but 
that  the  shepherd’s  footstep  strayed  that  way  and  he  saved  the  wanderer.  And  now,  safely 


The  Royal  Academy. 


39 


housed  in  the  good  man’s  cottage,  with  warmth,  food,  and  kindly  treatment,  the  pretty 
animal  will  be  restored.  Rather  a quaint  feature  of  the  design  is  the  shepherd’s  dog — 
certainly  an  animal  not  naturally  fond  of  sheep,  but  who  is  now  seated,  looking  on  at  what 
is  going  forward,  almost  with  instinctive  knowledge  that,  with  good  luck  and  nursing,  the 
time  may  come  when  he  will  have  the  pleasure  of  harrying  and  driving  this  little  nursling 
with  the  rest  of  the  flock.  There  is  great  pictorial  interest  in  Mr.  Stocks’s  pictures,  which 
are  looked  for  annually  as  popular  points  in  the  exhibition.  We  believe  “ Saved  from  the 
Snow  ” will  shortly  appear  as  an  engraving. 


54  x 77- 

No.  516.  “ The  French  in  Cairo , a.  d.  1800.”  Walter  C.  Horsley. 


Mr.  Walter  C.  Horsley,  son  of  the  well-known  Royal  Academician,  J.  C.  Horsley,  has 
turned  to  good  account  his  experiences  as  an  artist,  or  war  correspondent,  on  one  of  the 
London  illustrated  newspapers,  and,  nearly  every  year,  since  1877  (when  he  first  made  a 
mark  with  a picture  called  “ The  Hour  of  Prayer ,”  a scene  on  a Turkish  ironclad),  he  has 
contributed  some  painting  descriptive  of  life  in  the  East  and  the  incidents  of  modern  war- 
fare. The  value  of  this  early  training  in  the  sketching  and  arrangement  of  groups  of  figures 
is  conspicuous  in  this  artist’s  work,  which  is  generally  well  placed  on  the  line  in  the  Royal 
Academy.  This  year  he  has  chosen  an  historical  incident  in  which  he  depicts  a successful 
soldier  of  the  Emperor  Napoleon  cutting  in  the  stone  of  one  of  the  principal  buildings  in 


40 


English  Art  in  1884. 


Cairo  the  names  of  the  great  marshals  of  France.  Some  of  these  names  still  remain,  a 
memorial  of  the  emperor’s  love  of  display,  and  of  his  merciless  disregard  of  the  feelings  of 
those  he  conquered.  In  the  group  Mr.  Horsley  pictures,  the  French  soldiers  contemplate  with 
satisfaction  the  work  of  their  comrade,  who,  with  chisel  and  mallet,  carves  out  the  famous 
names,  while  the  citizens  look  on  with  feelings  of  bitterness  and  indignation  at  the  insult 
thus  put  upon  them  and  their  noble  city.  One  French  soldier,  a veteran  from  many  a 
hard-fought  field,  is  sitting  down  reading  in  a newspaper  the  account  of  some  recent  battle, 
while  a young  comrade,  with  musket  slung  at  his  back,  is  also  seated,  observing,  with  non- 
chalant ease  and  an  expression  of  gratified  pride,  the  public  record  of  his  country’s  prowess. 

No.  128,  “The  Union-Jack ,”  by  W.  Christian  Symons,  is  one  of  those  strongly  designed, 
bright,  and  suggestive  subjects  that  is  sure  to  be  deservedly  popular.  Some  girls  and 
others  are  wandering  near  a flag-staff  on  the  sea-shore,  when  a Jack-tar  amuses  himself  by 
wrapping  the  flag  of  Old  England  round  a bright-faced,  happy-looking  lass.  And  many  a 
time  before  has  the  Union-Jack  sheltered  and  protected  those  in  our  little  island,  as  Nelson 


No.  128.  “ The  Union -Jack."  W.  C.  Symons. 


and  many  other  heroes  could  have  testified.  The  other  lassies  and  surrounding  spectators 
look  on  amused  at  the  impromptu  garment  honest  Jack  has  found  for  his  lass,  but  little 
cares  he,  while  his  strong,  sheltering  arm  is  placed  around  the  fair  form,  trusting  confidingly 
in  him. 


The  Royal  Academy . 


4i 


No.  294,  “ Men  were  Deceivers  ever”  by  Peter  Macnab.  The  artist  here  hints,  it  is  to 
be  surmised,  at  one  of  those  stories  of  fond  but  fleeting  love,  which  ever  have  been  since 
the  world  began.  A young  gentleman  is  speaking  his  devotion  to  his  sweetheart  as  he 
tenderly  presses  her  hand,  and  at  the  same  time  we  see  in  the  distance  the  ship  which  is 


“ Sigh  no  more,  ladies,  sigh  no  more, 
Men  were  deceivers  ever ; 

One  foot  on  sea,  and  one  on  shore, 
To  one  thing  constant  never.” 


to  bear  him  to  other  shores,  and  perhaps  to  other  loves.  The  maiden  looks  very  trustful 
and  equally  sad,  so  that  one  quite  feels  for  her  in  her  bereavement.  Perhaps  it  is  unwise 
to  trust  a lover — particularly  if  he  be  young  and  handsome — miles  away  in  a ship,  if 
he  must  be  gone  a long  time.  There  is  a sad  and  tender  grace  about  the  treatment 


6 


42 


English  Art  in  1884. 


No.  828.  “ An  Impromptu."  H.  T.  Schafer. 

of  the  well-worn  theme  peculiar  to  Mr.  Macnab’s  work.  The  picture  will  make  a good 
engraving. 

Next  are  two  representative  pictures  by  H.  T.  Schafer,  a young  and  successful  painter, 
a frequent  contributor  to  the  Academy.  No.  828,  “An  Impromptu ,”  is  a pretty  idyl;  two 
Greek  girls,  fair  and  graceful,  listening  to  a classic  shepherd  who  pipes  sweet  music  while 
they  listen,  charmed  by  the  melody. 

No.  419,  “ II  Dolce  far  Niente”  from  the  same  brush,  pictures  another  fair  dame  stretched 
at  her  ease  among  clustering  flowers,  in  the  distance  being  what  are  possibly  the  blue 
waters  of  the  Grecian  Archipelago.  The  lady  has  one  arm  raised  above  her  head,  and  looks 
the  very  personification  of  all  that  is  graceful  and  lovely.  Mr.  Schafer  is  sometimes  over- 
bright  in  color,  but  his  grace  of  line  bears  down  all  criticism  ; no  one  is  a harder  worker 
in  this  branch  of  art.  It  is  worth  while  to  note  here  how  admirably  the  artist  has  indicated 
the  flow  of  soft  drapery  in  his  sketch  (419)  before  us.  Few  artists  have  greater  facility  of 
expression  in  line. 


12  x 24. 

No.  419.  “II  Dolce  far  Niente."  H.  T.  Schafer. 


The  Royal  Academy. 


4-3 


No.  425,  “ The  Widower ,”  by  William  Rainey,  is  a study  of  an  old  cottager,  left  by  for- 
tune to  fight  the  battle  of  life  alone,  when  he  is  of  an  age  ill  fitting  him  for  the  contest. 
The  poor  old  fellow  is  cleaning  his  cup  after  partaking  of  that  beverage  without  which  it 


would  almost  appear  that  the  poor  in  England  could  hardly  exist.  He  looks  desperately 
lonely,  and  we  need  not  be  told  of  the  irremediable  loss  he  has  experienced.  This  picture 
is  by  a young  artist  who  made  a mark  last  year  by  an  excellent  river-scene  entitled  “ The 
Horse-Boat , Fowey! ’ 

The  works  of  Mr.  Wetherbee  and  Mr.  Waterlow  may  be  examined  together.  They  are 


44 


English  Art  in  1884 


No.  414.  “ The  Harvest  is  past , the  Summer  is  ended.”  G.  F.  Wetherbee. 


35  x to. 


painters  of  kindred  subjects,  both  in  oils  and  water-colors.  Mr.  E.  A.  Waterlow  is  a young 
and  very  successful  painter  of  landscape  with  figures,  showing,  like  Mr.  Wetherbee,  much 


The  Royal  Academy. 


45 


of  the  feeling  of  the  late  Frederick  Walker  in  pastoral  subjects.  But  Mr.  Waterlow  is  no 
imitator  of  other  men’s  styles ; he  is  working  out  steadily  a line  of  his  own,  with  a good 
eye  for  color  and  grace  in  composition.  This  year  his  picture  of  “ Sand-Digging  in  North 
Cornwall"  reminds  us  in  its  treatment  more  of  Mr.  J.  C.  Hook,  R.  A. 


62  x 92. 


No.  809.  “ La  Belle  Dame  sans  Merci."  Anna  Lea  Merritt. 


“ She  took  me  to  her  elfin  grot, 

And  there  she  wept,  and  sighed  full  sore, 
And  there  I shut  her  wild,  wild  eyes 
With  kisses  four. 

And  there  she  lulled  me  asleep, 

And  there  I dreamed — ah ! woe  betide 
The  latest  dream  I ever  dreamed 
On  the  cold  hill's  side.” 


Mrs.  Merritt’s  large  canvas,  “ La  Belle  Dame  sans  Merci"  occupies  a very  prominent 
position  in  the  center  of  the  wall  in  Gallery  VII.  The  picture  is  full  of  grace;  there  is 
fine  drawing  of  the  figure,  as  usual.  The  accessories  have  been  painted  with  great  care ; the 
elfin  grot,  the  trees,  and  undergrowth,  from  nature-studies,  giving  great  interest  to  the  com- 
position. The  subject  of  this  picture  is  suggested  by  Keats’s  poem  oi  “ La  Belle  Dame  sans 
Merci" ; the  moment  chosen  is  when  the  knight  is  being  lulled  to  sleep. 


46 


English  Art  in  1884 


25  X 30. 

No.  374.  “ The  Peace-Maker,”  G.  B.  O’Neill. 


40  x 60. 


No.  176.  “ Old  Friends."  Carl  Schloesser. 


11 A Load  of  Turf."  A.  O’Kelly. 


No.  451.  “ Prince  Rupert."  Stanley  Berkley.  No.  815.  “ Her  own  Gleanings."  H.  R.  Robertson. 


SWEETHEARTS  AND  WIVES. 

P.  R.  Morris,  A.  R.  A. 


The  Royal  Academy. 


47 


No.  674,  “ Called  to  Court'd  by  Haynes  Williams.  “She  thought  of  nothing  but  the 
bright  life  before  her,  and  in  her  youth  and  innocence  dreamed  only  of  love  and  truth  and 
pleasure ; but  he,  her  father,  sighed  and  wished  that  France’s  queen  had  left  his  child  to 
him  and  home.”  Mr.  Williams,  whose  direct  role  in  art  one  has  been  accustomed  to  regard 
as  more  akin  to  that  of  his  old  friend  and  comrade,  Mr.  J.  B.  Burgess,  A.  R.  A.,  in  the 
present  work  forsakes  Spanish  subjects,  in  which,  on  former  occasions,  he  has  shown  that  he 
delights  and  has  great  facility,  and  favors  us  with  an  example  of  his  skill  in  historical  genre . 
The  scene  is  laid  in  the  time  of  Louis  XIII,  whose  queen  was  in  the  habit  of  selecting 
her  maids  of  honor  on  account  both  of  their  beauty  and  high  birth.  In  the  present 
instance  the  choice  has  fallen  upon  a very  lovely  girl,  who,  sumptuously  attired  in  white 


No.  674.  “ Called  to  Court."  Haynes  Williams. 


satin,  is  being  conducted  by  the  old  nobleman,  her  father,  to  the  presence-chamber  of  the 
queen.  She,  in  the  joyousness  of  her  young  life,  thinks  only  of  the  honor  conferred  upon 
her,  and  of  coming  pleasures;  but  her  father,  with  greater  knowledge  of  court-life,  has  other 
and  graver  thoughts.  Meantime,  the  fair  young  beauty  leans  lightly  upon  her  father’s  arm, 
and  is  more  intent  upon  the  attendant  arranging  her  train  than  aught  more  important. 
Two  pages,  in  blue-satin  jackets,  make  obeisance  as  they  hold  open  the  folding-doors  which 
lead  to  the  immediate  presence  of  royalty. 

To  turn  to  something  designed  and  executed  in  a more  comic  vein.  No.  671,  “ Not 
worth  Powder  and  Shot ,”  by  J.  C.  Dollman,  is  certainly  humorous.  A mounted  highway- 
man, armed,  masked,  and  doubtless  keenly  anxious  for  his  prey,  has  spied  a traveler  in  the 
distance,  and,  setting  spurs  to  his  horse,  he  after  a long  and  sharp  gallop  has  succeeded  in 
coming  up  with  the  individual.  But,  pulling  up,  for  his  horse  is  blown,  he  finds  that  this 


+8 


English  Art  in  1884.. 


26  x 40. 

No.  671.  u Not  worth  Powder  and  Shot.”  J.  C.  Dollman. 


time,  at  any  rate,  he  is  thoroughly  mistaken,  for  what  he  doubtless  hoped  was  a wealthy 
traveler  proved  to  be  but  a starveling,  old,  itinerant  musician — one  whose  poverty  is  such 
that,  feeling  secure  in  his  total  lack  of  this  world’s  goods,  he  does  not  even  take  the  trouble 
to  turn  upon  his  heel  to  see  who  his  pursuer  may  be,  but  trudges  along,  supremely  inde- 
pendent in  that  he  has  nothing  to  lose.  The  subject  is  no  caricature,  no  exaggeration  of 
very  unlikely  possibilities,  but  the  incident  is  a simple  transcript  of  what  might  very  well 
take  place,  while  it  is,  of  course,  a humorous  phase  of  human  nature. 


41  x 32. 

No.  69.  “ Fact  and  Fiction.”  G.  W.  C.  Hutchinson. 


The  Royal  Academy . 


49 


No.  66 1,  “ The  Unconverted  Cavalier ,”  by  Charles  C. 

Seton,  is  another  work  in  which  the  motive  is  distinctly 
jocular.  One  of  King  Charles’s  worldling  and  unregener- 
ate Cavaliers,  richly  attired  and  lounging  at  his  ease  in  a 
chair,  smoking,  is  listening  to  a Puritan  who,  with  eager 
zeal,  is  expounding  the  word  to  him.  But  the  good  seed 
is  evidently  sown  on  barren  soil,  for  the  reprobate  listens, 
too  lazy  even  to  answer,  too  careless  to  attempt  to  refute 
the  words  of  the  worthv  Roundhead. 

j 

To  refer  to  yet  one  other  study  of  the  class  we  are 
alluding  to.  No.  69,  “ Fact  and  Fiction ,”  by  George  W. 

C.  Hutchinson,  is  a quaintly  characteristic  figure  of  a little 
girl  kneeling  at  a stove  toasting  some  bread,  while  eyes 
and  mind  are  engaged  with  a story-book  spread  open  at 
her  feet.  The  milk  boils  over  on  the  stove,  and  the  steam 
from  the  kettle  threatens  a similar  mishap,  the  toast  burns 
furiously,  but  the  little  one’s  mind  is  in  the  region  of  fancy,  and  all  things  sublunary  are 
lost  to  her.  This  charming  little  study,  which  exhibits  the  grace  of  childhood,  is  not  with- 
out thoughtful  sense  of  humor  in  its  suggestiveness. 

No.  485,  11  For  Sale"  by  Arthur  Hacker,  exhibits  an  Arab  salesman  with  a matchlock 
and  various  other  wares  which  he  is  offering  for  sale.  At  his  side  runs  a little  black  lad, 

and  in  the  foreground  are  fruits  and  other  objects  upon  a 
stall. 

No.  439,  “ Home,  Sweet  Home"  by  William  E.  F.  Britten. 
Two  country  children,  a boy  and  girl,  are  finding  their  way 
home  through  the  heavy  winter  snows,  and,  as  they  approach, 
hail  those  who  are  welcoming  them  at  the  cottage-door. 

No.  465,  “ The  Gladiator s Wife"  by  E.  Blair  Leighton. 
This  picture,  notwithstanding  the  scant  courtesy  with  which  it 
was  treated  by  the  hangers,  was  one  of  the  most  interesting 
and  remarkable  in  the  exhibition.  It  recalls  to  mind  imperial 
Rome  when,  in  the  splendor  of  her  power,  she  inaugurated 
those  deadly  sports  with  wild  beasts,  and  combats,  which  de- 
lighted the  citizens  with  scenes  of  blood.  Founded  in  cruelty 
No  439.  “Home  Sweet  Home.”  — for  4 was  built  by  Vespasian  with  the  enforced  labor  of  the 

W.  E.  F.  Britten.  miserable,  conquered  Jews — the  Coliseum  during  the  reigns  of 


70  x 50. 


No.  485.  “ For  Sale.” 

Arthur  Hacker. 


7 


5° 


English  Art  in  1884. 


several  succeeding  emperors  was  the  scene  where  the  people 
conoremited  to  witness  the  gladiatorial  encounters — fights 
with  wild  beasts — and  upon  one  occasion,  at  least,  the  whole- 
sale destruction  of  the  then  despised  sect  of  Christians,  that 
served  to  make  holiday  for  a warlike  but  semi-barbarous 
nation.  But  while  demoralized  by  the  cultivation  of  their 
more  cruel  instincts,  and  degraded  by  their  constant  trade 
of  war,  it  may  not  be  doubted  that  they  were  still  susceptible 
to  the  feelings  of  natural  affection  which  make  “ the  whole 
world  kin.”  It  is  true  that  even  women  used  upon  occasions 
to  figure  in  their  gladiatorial  shows  as  combatants,  but  it  is 
probable  that  such  instances  were  comparatively  isolated  and 
unusual.  Mr.  Blair  Leighton,  in  his  singularly  dramatic  and 
powerful  picture,  depicts  what  would  be  a very  probable  in- 
cident, the  young  wife  of  a gladiator  awaiting  the  result  of  a 
combat  in  which  her  husband  is  engaged.  The  splendid  and 
terrible  scene  is  sufficiently  indicated — the  immense  amphi- 
theatre crowded  with  spectators  ; the  emperor  in  all  his  semi-barbaric  pomp  ; the  vestal 
virgins,  senators,  patricians,  and  citizens  of  all  classes,  watching  with  eager  interest  the  inci- 
dents of  the  bloody  fray.  But  here,  unable  to  turn  her  face  toward  the  awful  sight — to  the 
scene  which  may  rob  her,  in  a moment,  of  one  dear  to  her 
as  life — a young  wife  stands  listening  to  the  shouts  and 
cries  which  greet  her  ear.  In  nervous  dread  she  clutches 
at  her  necklace.  What  cares  she  for  emperor  and  court, 
for  the  splendor  of  the  scene,  or  for  victory,  if  but  the  one 
life  she  holds  so  dear  be  spared?  And  meantime  the  brill- 
iant light  of  the  sun,  scarce  checked  by  the  awning,  is 
shed  upon  the  scene  as  if  in  mockery  at  human  happiness 
or  woes.  The  artist’s  pathetic  little  story  is  told  with 
wondrous  power  and  effect. 

Another  work  by  the  same  hand,  No.  1552,  “ Conquest ,” 
pictures  an  armed  knight  returning  to  his  castle  with  what 
it  is  to  be  presumed  are  the  spoils  of  war.  Advancing 
with  measured  step  and  holding  his  trusty  sword,  he  is 
preceding  a lady  who,  with  eyes  cast  down  and  humbled 
mien,  follows  her  captor.  An  attendant  is  gathering  up 


50  x 30. 


No.  1552.  “Conquest." 
E.  Blair  Leighton. 


62  x 38. 

No.  465.  “ The  Gladiator  s Wife." 
E.  Blair  Leighton. 


The  Royal  Academy. 


5i 


some  golden  cups  and  other  spoil  at  the  knight’s  side,  and  in  the  distance  others  are 
approaching  bearing  in  the  wounded.  There  is  perhaps  a little  obscurity  in  the  design  as 
far  as  the  lady-prisoner  is  concerned,  as  one  hardly  supposes  that  in  ages  of  chivalry  noble 
knights  warred  against  women.  But  certain  it  is  that  in  all  times  and  ages  warriors  have 
been  keenly  alive  to  the  commercial  part  of  their  business,  so  it  is  perhaps  the  case  that 
the  fair  dame  represents  a good  ransom. 

No.  475,  “ Shadow s,”  by  Robert  Hillingford,  Oliver  Cromwell  seated  in  a chair  moodily 
regarding  a whole-length  portrait  of  Charles  I.  At  the  Protector’s  side  stands  a lady,  pos- 
sibly his  favorite  daughter,  Mrs.  Claypole,  and  in  the  background  is  a gentleman  having 
the  appearance  of  being  a follower  of  the  royal  cause.  It  is  not  difficult  to  imagine  what 


29  x 44. 

No.  475-  “Shadows.”  Robert  Hillingford. 


may  be  the  feelings  of  mingled  doubt,  hesitation,  and  regret  in  the  mind  of  the  remarkable 
man  who,  in  1649,  had  altered  a nation’s  destiny  and  signed  the  death-warrant  of  a king. 
Cromwell  was  no  believer  in  “the  divine  right”  of  kings,  but  he  was  a patriot  and  a man 
of  unflinching  will.  When  the  wrong-headed,  overbearing,  and  obstinate  monarch,  unhappy 
Charles  I,  had,  by  his  unjust  acts,  pressed  his  subjects  to  the  verge  of  revolution,  the  peo- 
ple’s cause  found  support,  and  themselves  a most  powerful  leader,  in  the  young  country  gen- 
tleman who  was  in  the  future  to  rule  the  kingdom.  But  the  struggle  must  have  been  a 
fierce  one,  and  particularly  in  the  then  state  of  public  feeling,  before  Cromwell  could  have 
made  up  his  mind  to  get  rid  of  the  king  by  ordering  his  execution.  Branded  on  the  one 
hand  as  a regicide,  and  on  the  other  regarded  as  the  saviour  of  his  country,  he  must  indeed 
have  felt  it  to  be  a stern  necessity,  and  one  that  taxed  to  the  utmost  even  his  iron  will, 
before  he  could  sign  that  fatal  warrant  which  sent  his  king  to  the  block.  Naturally  reti- 


52 


English  Art  in  1884. 


cent  and  a man  of  few  words,  Cromwell  was  one  to  act  rather  than  to  speak,  but  still  the 
shadow  of  that  tremendous  deed  must  have  overspread  his  life,  and  it  is  in  one  of  the 
gloomy  moments  of  doubt  and  retrospection  that  Mr.  Hillingford  supposes  him  to  be  in  his 
picture. 


36  X 60. 


No.  260.  “ Sporting  with  the  Leaves  that  fall."  Edgar  Barclay. 


In  some  sort  in  association  with  this  work,  No.  451,  “Prince  Rupert”  by  Stanley  Berk- 
ley (see  sketch  on  page  46),  represents  a cavalry  charge,  headed  by  the  brave,  impetuous, 
but  thoughtless  prince,  who  perhaps  helped  more  to  mar  than  make  the  fortunes  of  his 
royal  master,  Charles  I.  The  scene  here  pictured  is  most  likely  incidental  in  character 

rather  than  being  a reference  to  any  special  occasion.  It 
could  not  be  the  battle  of  either  Marston  Moor  or  Naseby, 
for  both  were  fought  in  the  summer-time,  while,  in  this  de- 
sign, mad  Rupert  and  his  no  less  wild  troopers  are  tearing,  at 
headlong  gallop,  over  snow-covered  marshes.  At  such  fiery 
charges  no  one  was  better  than  Prince  Rupert,  but  he  sadly 
lacked  discretion,  and  was  consequently  but  a very  poor  gen- 
eral officer.  His  career  was  a curiously  checkered  one,  for, 
first  a cavalry-officer,  he  was  afterward  a naval  commander, 
when  he  was  well  chased  over  the  seas  by  Blake,  and  had 
his  ships  sunk  and  destroyed ; while,  after  the  Restoration,  he 
turned  philosopher,  artist,  engraver,  and  student  of  mechanics. 

No.  356,  “ The  Champion  of  the  Tournament ,”  by  George 
William  Joy,  is  the  portrait  of  a pretty-looking  girl,  whose 
tennis-bat  and  the  balls  she  holds  in  her  hands  sufficiently 


50  x 30. 

No.  356.  “ The  Champion  of 

the  Tournament.”  G.  W.  Joy. 


indicate  the  game  of  skill  in  which  she  excels. 


The  Royal  Academy. 


53 


Mrs.  Alma-Tadema. 


No.  1642,  “Saying  Grace','  by  Laura  Alma-Tadema.  The  gifted  artist  vies  with  her 
husband,  although  in  a totally  different  direction,  in  talent.  Mr.  Alma-Tadema,  as  we  are 
aware,  has  a strong  archaeological  and  antiquarian  taste  in  art,  and  in  that  particular  line  he 
is,  perhaps,  unequaled  in  the  present  day.  A some- 
what characteristic  story  of  Mr.  Tadema  has  found 
currency  with  reference  to  the  prefix,  Alma,  before 
what  was  really  his  proper  name,  Tadema.  With 
that  ready  forethought  which  is  peculiar  to  him,  he 
is  said  to  have  observed  that  Tadema  came  among 
the  T’s,  and  was  therefore  nearly  last  in  the  alpha- 
bet, while  a prefix  with  A,  as  an  initial  letter,  would 
make  his  name  stand  among  the  first  in  the  Royal 
Academy  catalogue  and  elsewhere — hence  the  name 
Alma,  which  he  henceforth  adopted.  His  wife,  Mrs. 

Alma-Tadema,  whose  picture,  “ Saying  Grace','  we  are  referring  to,  has  hitherto  made  as  her 
subjects  for  illustration  domestic  incidents,  and  those  scenes  of  every-day  life  which  are  not 
without  dramatic  interest  and  pathos.  Mrs.  Tadema  is  fond  of  Dutch  character  and  cos- 
tume, and  that  from  associations  which  it  is  easy  to  understand.  In  her  picture  in  the 
Academy,  the  family  (three  children  with  the  mother  and  grandmother)  is  assembled  at 

dinner,  and  a lesson  of  reverent  thankful- 
ness is  taught  in  the  charming  group. 

No.  1566,  “What  shall  I sing?"  In- 
terior of  a Cairo  caf  ?,  by  F.  A.  Bridgman. 
This  subject,  which  might  have  suited 
the  pencil  of  Mr.  Carl  Haag,  represents 
a couple  of  Egyptian  gentlemen  seated  at 
their  ease — one  with  the  eternal  nargheel 
in  his  hand — in  a cafe,  while  a young 
girl,  a wandering  musician,  asks  what  she 
shall  sing  to  amuse  them.  The  picture 
carries  with  it  evidence  of  either  having 
been  painted  on  the  spot,  or  from  sketches 
made  in  Cairo,  for  character,  costume,  and 

even  the  sunny  atmosphere  of  the  East,  are  all  realized  with  the  most  telling  effect. 

No.  46,  “A  Little  Outcast ,"  by  Henriette  Corkran.  This  artist,  who  is  almost  better 
known  from  her  efforts  to  revive  in  this  country  the  nearly  extinct  art  of  pastel-drawing, 


No.  1566. 


24  x 32. 

What  shall  / sing?"  Anterior  of  a Cairo 
Cafe.)  F.  A.  Bridgman. 


54- 


English  Art  in  1884. 


here  exhibits  a rather  pathetic  study  of  one  of  the 
waifs  and  strays  of  the  metropolis.  A poor  flower- 
girl,  looking  suppliant  and  piteous,  holds  in  her  hand 
bunches  of  beautiful  violets  for  which  she  is  eagerly 
seeking  a purchaser. 

No.  339,  “ Herodias  and  her  Daughter”  (St.  Mark 
vi,  22-24),  by  J.  R.  Weguelin.  The  Scriptural  incident 
of  the  foul  murder  of  John  the  Baptist  in  prison,  by 
command  of  Herod,  has  been  a very  favorite  one  with 
artists,  and  we  have  had  pictured  representations  of  the 
beautiful  but  evil-minded  Salome,  with  the  Baptist’s 
head  in  a charger,  innumerable.  But  the  present  ren- 
dering of  the  story  is  somewhat  a new  one,  in  that  the 
design  here  shows  the  mother  of  the  girl,  just  after  her 
daughter  had  pleased  the  king  with  her  dancing,  whis- 
pering the  foul  words  of  vengeance  into  the  girl’s  ear, 
which  suggested,  as  a reward,  the  demand  for  the  life 
of  the  unhappy  prophet.  Every  student  of  Scripture  history  is  aware  that  John  the  Baptist 
had  incurred  the  hatred  of  the  king’s  wife,  Herodias,  as 
the  prophet  had  lifted  up  his  voice  in  condemnation  of 
Herod’s  incestuous  marriage.  The  opportunity  for  ven- 
geance arrived,  as  Salome,  on  some  occasion,  danced 

before  the  monarch,  and  so  pleased  his  sensual  tastes 
that  he  swore  to  grant  her  any  request  she  made,  even 
to  the  half  of  his  kingdom.  Probably  the  girl,  if  left 
alone,  would  have  demanded  wealth,  or  something  that 
would  have  gratified  vanity  and  caprice,  but,  instigated 
by  her  mother,  she  asked  for  what  could  have  given 

her  no  pleasure,  the  life  of  the  man  who  had  offended 

Herodias.  In  Mr.  Weguelin’s  picture  we  see  indicated 
in  the  distance  the  king  and  his  court,  and  in  the  fore- 
ground the  wretched  girl,  who  lived  to  die  a terrible 

death,  listening  to  the  evil  words  of  the  tempter. 

Turning  from  biblical  record  to  historical  incident, 
another  subject  by  Mr.  Dicey,  to  whom  we  have  pre- 
viously referred,  is  No.  561,  “ Joan  of  Arc  in  Prison ,” 


57  x 37- 

No.  561.  “ Joan  of  Arc  in  Prison .” 

F.  Dicey. 


49  * 33- 

No.  339-  “ Herodias  and  her  Daugh- 

ter,J.  R.  Weguelin. 


The  Roy a l Academy 


55 


67  X 53.  39  X 32. 

No.  124.  “ Preparations  for  the  Market,  QuimperlL"  No.  726.  “ Fair  Measure."  ( A Skopin  Quimperle. ) 

Stanhope  A.  Forbes. 


in  which  we  have  the  pictured  semblance  of  the  fair  Maid  of  Orleans  seated  in  prison,  hei 
armor  by  her  side,  and  her  hands  grasping  the  hilt  of  her  two-handed  sword.  The  half- 
heroic, half-fanatic  character  of  poor  Joan  is  one  of  the  most  remarkable  in  history,  and  her 
brief  life  a record  of  some  of  the  more  unselfish  and  brave,  as  well  as  of  the  weakest,  traits 
of  our  common  humanity.  It  is  a curious  characteristic  of  the  rough,  warlike  times  in 
which  she  lived  that  she  was  thrust  into  prison  with  her  arms  and  armor,  and  her  bar- 
barous death  at  Rouen  certainly  reflects  no  credit  upon  the  English. 


No.  525.  “ Washing-Day .”  Everton  Sainsbury. 


5& 


English  Art  in  1884.. 


No.  144,  “ The  H minted  Lake ,”  by  Alice 
Havers.  Among  our  female  artists  like  Mrs. 

Elizabeth  Butler,  Mrs.  E.  M.  Ward,  Louise 
Rayner,  Einnie  Watt,  and  others,  Alice 
Havers  is  entitled  to  a distinctive  position. 

Her  numerous  pictures  and  designs  have 
always  been  marked  with  good  taste  as  well 
as  executive  ability,  and,  while  she  has  a 
certain  power  of  selection  in  her  subjects, 
there  is  more  of  nature  and  less  of  the 
painting-room  in  her  work  than  we  often 
meet  with  in  the  present  day.  The  motive 
of  her  picture,  “ The  Haimtcd  Lake','  is  self- 
suggestive  and  singularly  spontaneous  — a 
dismal  pool,  whose  deep  waters  are  hidden 
away  in  solitary  woods  and  thick,  damp 

30  x 25. 

undergrowth  of  weeds  and  trailing  plants.  No.  590.  11  The  Betrothal  Ring." 

The  old  wood-cutter,  the  almost  solitary  Arthur  H.  Weigall. 

visitant  to  such  a scene,  is  pointing  out  to 

two  girls,  whose  exploring  footsteps  curiosity  has  led  to  the  spot,  the  dismal  pool,  and 
doubtless,  with  the  garrulity  of  age,  he  is  telling  them  the  legend  of  where  the  ghost 
appears  and  other  nameless  horrors,  giving  to  the  weird  - looking  place  its  title.  But, 
“ uncanny  ” as  the  story  may  be,  there  are  marvelous  grace  and  charm  in  the  pretty  maidens, 
while  the  artist  has  been  quick  to  seize  upon  and  heighten  the  dramatic  effect  of  her  design 

by  the  contrast  of  youth  with  the  decrepi- 
tude of  age. 

No.  124,  “ Preparations  for  the  Market , 
Quimperld]'  and  “A  Shop  in  Quimperlf' 
are  studies  in  the  south  of  Brittany,  by 
Stanhope  A.  Forbes.  In  No.  124  an  old 
woman,  kneeling  by  her  basket  of  vegeta- 
bles and  miscellaneous  commodities  in- 
tended for  market,  is  holding  a fowl  in 
her  hands  as  she  discusses  with  her  daugh- 
ter the  prices  to  be  asked,  and  makes  other 
arrangements.  The  girl,  wearing  the  pic- 


The  Royal  Academy. 


SI 


turesque  wooden  sabots  of  her  class,  listens,  seated  upon  a hen-coop.  The  artist  appears  to 
have  painted  his  picture  on  the  spot,  for  the  glimpse  of  the  village  in  the  background  and 
the  figures  of  the  women  are  distinctly  French.  This  young  artist’s  pictures  attracted  atten- 
tion last  year. 

In  No.  1 6 1 6,  “ Sally  in  our  Alley]'  a quaint  old  ballad,  has  furnished  the  text  for  E. 
Sherrard  Kennedy’s  design : 

“ On  Sunday,  dressed  in  all  my  best, 

I walk  abroad  with  Sally.” 

In  one  of  the  narrower  streets  of  London  of  the  last  century,  the  young  apprentice,  clad  in 
gorgeous  apparel — a bright-yellow  coat  of  spruce  cut — walks  out  with  pretty  Sally  on  his 
arm,  the  admired  of  all  beholders.  What  cares  he  for  mocking  gibe  and  jest,  for  the  old 
vintner  proffering  a pot  of  foaming  porter,  for  the  children  who  ape  his  proudly  contented 
walk  with  his  sweetheart,  or  for  the  thronging  crowd  around,  who  laugh,  make  fun  of,  and 
perhaps  envy  the  happy  couple  ? The  painter’s  idea  of  old  London,  with  its  narrow  streets, 
overhanging  houses,  gabled  windows,  and  swinging  oil-lamps,  is  not  badly  seen  in  the  pres- 
ent Health  Exhibition  at  South  Kensington,  in  the  portion  devoted  to  the  imitation  of 


No.  149.  “ Heads  or  Tails?”  A.  Weir. 


our  city  in  ancient  times.  But  all  is  strangely  altered,  and  we  live  now  under  a rule  of 
law  and  order.  No  more  do  unruly  apprentices  flock  together  in  the  streets  at  some 
affront,  real  or  imaginary,  to  those  of  their  order ; and  no  longer  is  any  class  allowed  to  take 
the  law  into  its  own  hands,  and  show  in  broils,  tumults,  and  broken  heads,  defiance  of 
authority  and  good  government.  Mr.  Kennedy’s  picture  has  somewhat  of  the  character  of 


5» 


English  Art  in  1884. 


an  historical  treatise,  dealing  with  scenes  and  characters  in  our  great  city  long  since  passed 
away,  but  it  is  in  all  respects  extremely  interesting. 

No.  1537,  “A  Midway  Inn, ” by  F.  W.  Lawson.  In  a quaint,  picturesque  inn,  such  as 
was  the  “Tabard”  or  “The  Three  Nuns”  in  the  olden  time,  the  artist  has  pictured  groups 
of  travelers  who  might  have  assembled  in  a similar  edifice  in,  say,  the  seventeenth  century. 


At  a table  in  the  foreground  on  the  left,  free  lances  and  reckless  scoundrels  quarrel  over 
their  cards.  One  raises  a wine-flagon,  while  another  draws  his  dagger,  and  together  these 
desperadoes  alarm  the  house.  In  the  distance  a lady  seeks  the  protection  of  her  father,  and 
on  the  right  a frightened  child  clings  to  its  nurse.  Another  lady  stops,  at  the  wild  tumult, 
as  she  descends  the  stairs;  and  an  old  man,  who  rather  recalls  Gaspard  the  miser,  peers 
curiously  from  a gallery  in  the  rear.  The  landlady,  feeling  that  the  honor  of  her  house  is 
at  stake,  starts,  keys  in  hand,  from  her  cozy  corner.  But,  apart  from  the  brawlers,  the  tide 
of  life  in  the  old  posting-inn  goes  on  : the  cook  is  seen  by  the  glow  of  the  firelight ; down 
a long  passage  we  catch  a glimpse  of  horses ; market-people  are  here  from  some  neighbor- 
ing village;  and  the  country  element  is  suggested  in  a “jolly  postboy”  saluting  an  appar- 
ently by  no  means  reluctant  maiden.  Then  we  note  in  a corner  a Jacobite,  a courtier  of 
St.  Germains,  bribing  a swashbuckler  who  drinks  success  to  the  cause  of  “ the  king  over  the 
water,”  as  he  takes  the  golden  “ louis  d'ors"  of  “ Le  Roi  Soleill  Full  of  strong  life  and 
quaint  sketches  of  character  is  this  pictured  posting-house  of  the  olden  days — of  the  times 
of  Marlborough  and  Turenne,  of  Villeroi  and  Sarsfield,  who  fought  in  the  open  field,  and 
our  soldiers  followed  “Corporal  John,”  and  found  “glory  and  plunder  but  never  retreat”  in 
the  trenches  of  some  Flemish  town  or  in  the  pillage  of  some  Rhenish  chateau.  The  artist, 
Mr.  F.  Wo  Lawson,  is  one  whose  life  has  not  been  without  its  vicissitudes.  Brother  of  the 


THE  VERY  IMAGE. 
Joseph  Clark. 


The  Royal  Academy. 


59 


late  Cecil  G.  Lawson,  the  young  landscape-painter 
whose  recent  early  death  we  had  occasion  to  re- 
gret, he  began  his  artistic  career  as  a designer  on 
wood  for  various  periodicals,  and  notably  “ The 
Graphic.”  Then  followed  his  series  of  illustrations 
of  the  childish  beggar-life  of  London  — the  sorry 
existence  of  those  poor  little  match-sellers  and 
street  Arabs,  whose  uncertain  way  of  keeping  body 
and  soul  together  must  be  almost  as  great  a mys- 
tery to  themselves  as  it  is  to  the  outside  public. 

The  artist’s  well-known  “ Children  of  the  Great 
City l'  “ Imprisoned  Spring ,”  and  “Dawn"  the  lat- 
ter representing  a poor  girl  dying  in  a wretched 
garret,  supported  in  her  brother’s  arms,  while  the 
first  gleam  of  day  through  the  window  suggests 
that  other  “ dawn  ” to  which  she  is  about  awaken- 
ing, were  all  marked  with  a feeling  of  poetical 

pathos.  Other  artists  studying  London  street-life  are  Mr.  T.  B.  Kennington,  Mrs.  Archibald 
Weir,  and  Miss  E.  M.  Merrick. 

No.  856,  “ Primrose-Day .”  Two  little  street  Arabs,  one  a girl,  a flower-seller,  is  en- 
gaged fixing  in  the  button-hole  of  a shoeless  crossing-sweeper  the  favorite  flower  of  the  late 
Lord  Beaconsfield,  in  wearing  which  members  of  the  Tory  party  celebrate  the  anniversary 


No.  856.  “ Primrose-Day .” 

E.  M.  Merrick. 


17  X 21. 

No.  818.  “Is  Dueling  lawful  l"  Sydney  W.  Lee. 


6o 


English  Art  in  1884.. 


of  that  lamented  nobleman’s  death.  The  design  is  grotesque  enough,  when  one  considers 
how  little  the  giver  and  receiver  know  about  the  matter. 

No.  818,  “Is  Duel  nig  lawful ?”  by  Sydney  VV.  Lee,  is  rather  an  amusing  design,  rep- 
resenting a soldier  in  red  coat,  seated  over  a bowl  of  punch,  with  the  chaplain  of  his  regi- 
ment putting  the  knotty  question  to  him  suggested  in  the  title  of  the  work.  The  chaplain 
is  of  opinion  that  the  question  is  a difficult  one,  but  he  hopes  that  latitude  may  be 


granted  to  soldiers  in  this  particular  instance.  A soldier  and  a parson  together  seem  a 
curiously  assorted  couple,  particularly  with  such  a subject  under  discussion  as  that  now 
upon  the  tapis.  That  a man  whose  trade  is  war,  and  his  hope  of  promotion  founded  upon 
deeds  of  blood,  should  submit  to  indignity  or  insult  without  at  once  resenting  it,  is  evi- 
dently a proposition  the  worthy  divine  can  not  tackle,  and  he  is,  if  anything,  inclined  to 
concede  the  point  by  a semi-evasion  like  that  we  have  but  now  referred  to.  In  the  great 
military  nations  of  Europe,  where  the  laws  as  to  dueling  are  very  stringent,  an  officer  in 


The  Royal  Academy. 


6 1 


the  army  is  in  rather  an  unfortunate  position : for  if,  when  insulted,  he  resents  it  in  a 
manner  which  suggests  itself,  the  law  takes  cognizance  of  the  fact ; whereas,  if  he  does  not 
do  so,  he  is  ostracized  by  all  his  brother  officers. 

There  is  capital  character  in  No.  208,  “An  East  Wind by  Howard  Helmick,  a study 
of  an  old  gentleman  who  certainly  is  rapidly  approaching  the  “last  stage  of  all  that  ends 
this  strange  eventful  history,”  standing  gazing  ruefully  from  the  window,  as  he  seeks  to 
explain  the  twinge  of  rheumatism  in  his  back  by  finding  that  the  wind  is  in  that  ill-omened 
quarter — the  east.  The  study  of  extreme  senility  in  the  figure  of  the  old  man  is  mingled 
— as  usual  with  Mr.  Helmick’s  works — with  a strong  sense  of  humor. 

Nos.  1554,  1555,  and  1556,  “A  Love-Story ” (“  The  Letter ” — “ A Trial ” — “ Happier  than 
ever ”),  by  Maria  Brooks.  Three  tableaux  in  one  frame:  No.  1,  Dolly,  the  housemaid, 


17  X 10. 

No.  1554. 

“ The  Letter .” 


17  X 12. 

No.  1555. 

“A  Trial:' 


17  X 10. 

No.  1556. 

‘ Happier  than  ever. 


“ A Love-Story .”  Maria  Brooks. 


reading  a letter  just  received;  No.  2,  poor  Dolly  seated  and  in  tears  over  her  missive;  and 
No.  3,  that  fortunate  maiden  looking  the  very  embodiment  of  contentment  and  delight. 
Of  course,  a good  deal  is  left  to  the  imagination  in  this  subject.  It  is  difficult  to  know 
what  has  happened  in  the  second  tableau  to  cause  such  grief.  Has  Lubin  played  a prac- 
tical joke  on  poor  Dolly,  and  stated  in  the  body  of  his  letter  that  he  no  longer  loves  her, 
while  in  a postscript  he  confesses  he  has  only  been  having  a little  fun,  and  assures  her  of 
his  undying  affection  ? That  appears  a not  unlikely  explanation  of  this  pictured  page  in 
the  life  of  a little  housemaid,  but  anyway  the  subject  is  cleverly  and  suggestively  treated. 

The  picture  sketched  on  the  next  page  is  one  of  two  clever  genre  subjects  by  a young 
artist,  to  which  attention  may  well  be  drawn  in  these  pages.  They  were  hung  rather  out  of 


62 


English  Art  in  1884. 


sight  in  the  Royal  Academy,  and  have  been  missed  altogether  by  many  visitors.  The  first 
is  “ The  Archceologist]'  an  old  gentleman,  in  eighteenth-century  costume,  examining  some 
sculpture  in  a museum ; the  second  “A  Walk  with  Grandpapa ” remarkable  for  ease  and 


No.  120.  “ A Walk  with  Grandpapa."  H.  E.  Detmold. 


close  study  of  character.  Mr.  Detmold  has  studied  in  foreign  schools,  and  is  a painter 
whose  work  should  be  looked  for  in  future  exhibitions. 

No.  386,  “ Going  to  Work'.'  This  and  the  two  following  works  are  “ Three  Scenes  in  a 
Miner's  Life ,”  from  the  brush  of  A.  Dixon  : 


The  Royal  Academy . 


63 


70  x 50. 

No.  386.  “ Going  to  Work.” 


“ ‘ Get  up  ! ’ the  caller  calls,  ‘ get  up  ! ’ 

And  in  the  dead  of  night 
To  win  the  bairns  their  bite  and  sup, 

I rise,  a weary  wight.” 

In  a cottage  home  a miner,  at  earliest 
light  of  dawn,  has  risen  from  his  bed, 
and,  safety-lamp  in  hand,  says  farewell 
to  his  wife  and  child  as  he  hurries  off 
to  his  laborious  and  often  dangerous 
work.  The  young  wife,  standing  by  the 
window,  with  all  her  life  bound  up  in 
child  and  husband,  thinks  not  of  harm 
or  ill  to  happen  to  him  she  loves  so 
well. 

In  No.  567,  “ To  the  Rescue ,”  all  is 
changed.  A terrible  explosion  in  the 
mine,  smoke  from  the  pit-mouth,  and 
women,  children,  and  others  are  flying 
to  the  scene  in  agony  of  apprehension 
for  the  safety  of  those  near  and  dear 
to  them.  Then  follows  the  horror  of 
suspense  before  those  who  are  but  too 
willing  dare  attempt  to  succor  those 
who  may  yet  be  living  in  the  dark  re- 
cesses of  the  mine.  But  at  length  it  is 
pronounced  safe,  for  those  anxious  to 
help,  to  attempt  a rescue.  The  men 
fearlessly  descend  into  the  prison-house ; 
and  then,  in  No.  544,  “Rescued”  we  see 
those  happily  wrested  from  the  jaws  of 
death.  The  young  wife  is  there,  and, 

with  a joy  and  thankfulness  too  great  for  utterance,  the  child  clings  to  her  father,  and  even 
the  dog  fawns  upon  his  master  as  he  licks  his  hand.  Such  are  the  stirring  passages  in  the 
life  of  the  laborer  in  mines.  But  this  is  only  one  side  of  the  picture  ; the  other  we  dare 
not  touch  upon,  for  it  is  harrowing  in  its  details,  and  the  despair  of  those  whose  fate  it -is 
to  look  no  more  upon  the  living  is  perhaps  suggested  by  contrast  in  the  happiness  of  the 


60  x 25. 

’ To  the  Rescue.” 


No.  567. 

“ Three  Scenes  in  a Miners  Life.”  A.  Dixon. 


64 


English  Art  in  1884 


All  things  come  to  those  who  wait.” 


46  x 36. 

No.  24.  “Artists.”  Robert  Fowler. 


The  Royal  Academy. 


65 


favored,  whose  brighter  story  is  seen  in  the  picture  of  the  “ Rescued ” we  have  but  now 
referred  to. 

No.  795,  a Wishes  and  Fishes"  (“All  things  come  to  those  who  wait”),  by  Weedon 
Grossmith,  is,  properly  speaking,  portraiture  in  costume  of  half  a century  ago.  A boy  and 
girl,  a pair  of  Izaak  Waltonians,  are  patiently  fishing  on  the  sedgy  bank  of  a river.  The 
little  folk  look  both  pretty  and  picturesque,  with  much  childish  grace  about  their  figures, 
but,  truth  to  speak,  they  are  anything  but  keen  anglers,  and  appear  weary  of  non-success. 
Let  us  hope  that  the  quotation  in  the  text  will  come  true,  so  that  patience  may  meet  with 
its  reward. 

No.  24,  “Artists”  by  Robert  Fowler.  Two  very  graceful  female  figures,  one  seated, 
regarding  a canvas  upon  the  easel,  which  is  placed  out  in  the  open  air.  The  design  is  just 
sufficiently  obscure  to  make  it  interesting.  Are  these  beautiful  girls — for  they  really  are  alto- 
gether charming  in  their  light,  silvery  draperies  and  red  head-dresses — themselves  professors  of 
palette  and  brushes,  or  are  they  only  artists  in  taste,  feeling,  and  appreciation  of  art?  There 
is  nice  symbolism  in  the  motive  of  the  work,  and  so  much  grace  in  the  conception  and 
composition  that  one  is  quite  content  to  take  the  picture  with  all  its  little  half-suggested 
doubts,  and  accept  it  gratefully  for  the  sense  of  beauty  it  arouses  in  the  mind. 

In  No.  1541,  “ The  Last  Mile"  by  Robert  Collinson,  we  see  a good  old  dame,  appar- 
ently a villager  of  the  humblest  class,  who  has  been  tramping  wearily  along  the  road  until 
she  reaches  a mile-stone,  happily  the  last  before 
she  reaches  her  destination.  Life’s  load  of  years 
not  being  sufficient,  she  has  to  carry  a bundle, 
containing  possibly  all  her  worldly  goods,  and  this 
she  has  placed  upon  the  ground  as  she  rests  her- 
self while  attempting  to  decipher,  upon  the  hard 
stone,  the  distance  yet  to  be  traversed  ere  the 
feeble  footsteps  will  bring  her  to  shelter  and  re- 
pose. Fields  and  foliage  look  young  and  bright 
and  beautiful,  in  strong  contrast  to  the  venerable 
life  which  now,  like  the  stone  the  poor  old  lady 
is  consulting,  indicates  the  last  stage  of  the  journey. 

No.  31 1,  “ The  Quarrel ,”  by  C.  W.  Pittard. 

“ Here’s  much  to  do  with  hate,  but  more  with  love.” 


Here,  again,  the  subject  is  one  full  of  suggestion. 
A young  lady,  richly  robed  in  pink  satin,  is  seated 


No.  311. 


44  x 34- 

The  Quarrel."  C.  W.  Pittard. 


9 


66 


English  Art  in  1884. 


in  a chair,  anger  in  her  face  and  mien.  Behind  her  stands  a young  cavalier,  crushing  his 
broad-leaved  hat  in  one  hand,  while  the  other  is  fiercely  closed.  Upon  the  floor,  at  the 
lady’s  feet,  lie  some  flowers,  which  have  evidently  been  thrown  there  in  scorn  and  disgust. 
What  has  occasioned  this  dire  disturbance,  what  has  aroused  the  hate,  which,  as  Shakespeare 
says,  is  so  near  akin  to  love,  between  the  pair?  It  is  to  be  presumed  that  they  are  lovers, 
and,  if  that  be  so,  “ Amantium  irce  amor  is  integratioest ,”  and,  shortly,  their  love  will  be  the 
stronger  for  this  passing  anger.  But,  meantime,  the  social  atmosphere  is  disturbed.  The 
flowers  — those  pretty  love-tokens,  suggestive  of  beauty,  peace,  and  happiness  — are  fiercely 
cast  away,  and  their  at  one  time  loving  donor  is  considered  almost  as  a foe.  So  much  for 
the  passion  of  love  and  its  strange  vicissitudes. 


No.  646.  “ Cook's  Straits,  New  Zealand."  Nicolas  Chevalier. 


No.  646,  “ Cook's  Straits , New  Zealand by  Nicolas  Chevalier,  is  a departure  in  art,  on 
the  part  of  this  painter,  from  subjects  we  are  accustomed  to  from  his  brush.  With  Eastern 
scenes,  views  in  Cairo,  and  elsewhere,  we  are  all  familiar,  but,  like  Luke  Fildes  and  other 
of  our  more  enterprising  artists,  he  has  exercised  his  genius  in  striking  out  a new  path  for 
himself  with  considerable  success.  M.  Chevalier’s  pictures  always  exhibit  great  care  and 
technical  completeness. 

No.  95,  “ For  those  in  Peril  on  the  Seal'  by  Jessie  Macgregor.  The  painter,  a young 
artist  of  considerable  promise,  made  her  dibiit  a few  seasons  since  with  her  picture  illustrat- 
ing in  three  tableaux  the  quaint  old  ballad  of  “The  Mistletoe-Bough.”  This  she  followed 
in  succeeding  years  with  works  of  more  or  less  promise,  until  the  production  of  her  present 
picture.  In  an  old  wainscoted  chamber,  whose  large  window  opens  out  upon  the  sea,  a 
family  group  is  assembled.  Either  it  is  evening,  or  the  apartment  is  darkened  by  the  rag- 
ing storm,  and  two  girls  are  singing  to  the  accompaniment  of  a third  at  the  piano.  One 


The  Royal  Academy. 


67 


little  fellow,  too  young  to  be  conscious  of  impending  evil,  is  engaged  with  his  toys  upon 
the  floor,  and  a servant  holds  at  the  window  a child  who  looks  out  upon  the  angry  ocean. 
As  far  as  the  sentiment  of  the  picture  is  concerned,  it  matters  not  whether  the  singers  carol 


plaintively  of  danger  to  those  near  and  dear  to  them,  or,  taking  a deeper,  wider  view, 
whisper  in  sweet  melody  a prayer  for  the  safety  of  all  those  “ who  go  down  to  the  deep  in 
ships.”  The  grandeur  and  solemnity  of  the  war  of  elements  in  a storm  are  amply  realized  in 
the  darkened  atmosphere  seen  from  the  window  and  in 
the  saddened  faces  of  the  hymn-singers. 

No.  499,  “ The  H erring- Harvest]'  by  John  White, 
is  a characteristic  study  of  a fishing-village,  with  a fish- 
erman selling  his  store  of  herrings  from  the  panniers 
with  which  his  donkey  is  laden.  At  a fisherman’s 
cottage,  on  the  right  of  the  picture,  children  are  also 
amusing  themselves  with  the  fish,  which,  during  this 
season  of  plenty,  form  their  staple  article  of  food.  The 
street  is  a curious,  winding  one,  with  those  remarkably 
primitive  cottages,  half  mud,  half  plaster,  one  is  accus- 
tomed to  see  in  such  villages. 

No.  1615,  “A  Yarmouth  Row]'  by  Percy  R.  Craft, 
is  in  some  respects  not  dissimilar  in  motive  from  the 
last-named  subject  — only  that  Yarmouth  is,  as  we  are 

aware,  a place  of  importance  on  the  east  coast  of  Eng-  John  White. 


68  x 47. 

No.  499-  u The  Herring-Harvest." 


68 


English  Art  in  1884. 


land.  The  houses  in  this  picture,  while  they  are  quite  as  picturesque — -oddly-shaped,  with 
pointed  roofs  and  other  individual  peculiarities  — are  altogether  larger,  and  form  indeed  the 


32  X 18. 

No.  1615.  UA  Yarmouth  Row”  P.  R.  Craft. 


leading  motive  of  the  design.  Of  all  the  large  towns  on  the  Norfolk  coast  there  is,  per- 
haps, not  one  which  has  more  completely  retained  its  ancient  character  than  Yarmouth — 


The  Royal  Academy. 


69 


some  of  the  streets,  like  the  one  in  our  illustration,  almost  reminding  us  of  some  of  the 
curious  old  wynds  of  Edinburgh.  The  town  of  Yarmouth  is  as  much  the  resort  of  the 
middle  and  lower  classes  for  sea-bathing  as  Brighton,  in  the  south  of  England,  is  for  those 
of  a somewhat  higher  position  socially.  Yarmouth  is  also  a popular  sketching-ground  for 
artists,  who  are  never  weary  of  delineating  the  Yare,  the  fishing-boats,  and  steam-tugs, 
together  with  the  more  prominent  points  of  interest  upon  the  coast  with  which  the  district 
certainly  abounds. 


54  X 84. 

No.  *J1$.  “ St.  Agnes,  of  the  Early  Christian  Martyrs."  James  Archer. 


Mr.  James  Archer,  a member  of  the  Scottish  Academy,  a painter  who  has  been  an 
exhibitor  for  many  years,  painting  both  subject-pictures  and  portraits,  sent  this  year  two 
pictures  to  the  Royal  Academy.  The  first  is  an  elaborate  composition  representing  the 
martyrdom  of  St.  Agnes;  the  second,  entitled  “ You  a Christian !"  A young  pagan  lover  dis- 
covers a cross  worn  by  his  betrothed,  and  starts  back  with  the  exclamation  “You  a Christian!” 
There  are  much  learning  and  evident  painstaking  in  these  two  pictures;  but  Mr.  Archer’s 
portraits,  notably  one  lately  painted  of  Professor  Blackie,  show  his  powers  to  the  best 
advantage. 

No.  1653,  “ Vespers]'  by  F.  D.  Hardy.  The  subject  introduces  us  to  monastic  life;  not 
the  phase  of  monkish  existence  in  which  our  well-known  young  painter,  Mr.  Dendy  Sadler, 


7o 


English  Art  in  1884 


delights,  and  which  he  delineates  with  such  keen  humor — the  sly  indulgence  of  the  worthy 
fathers  in  the  good  things  of  this  life,  their  preference  for  pastimes  like  fishing,  etc.,  to  pen- 
ance, or  similar  scenes — but  a group  of  monks  in  the  belfry,  ringing  in  their  brethren  to 
service.  They  are  shut  off  from  the  interior  of  the  church,  which  is  to  be  seen  in  the  back- 
ground, by  a curtain  screen,  which  one  of  their  number  is  closing.  Probably  their  present 


56  x 41. 

No.  1653.  “Vespers.”  F.  D.  Hardy. 


occupation  is  not  quite  so  distasteful  to  them  as  digging  their  own  graves,  kneeling  all 
night  upon  the  cold  stones  of  the  chapel,  fasting,  or  other  like  cheerful  modes  of  passing 
away  their  time  with  which  they  are  credited  by  historical  record.  Still,  the  view  of  life  is  a 
curious  one,  when  we  see  the  grave  and  learned  doing  the  work  of  menials ; the  self-evident 
object  of  existence  as  social  beings  cast  aside  for  self-denials  which  are  opposed  to  nature, 
and  are  not  demanded  by  law,  Scripture,  or  common  sense.  Many  of  the  monks  in  the  olden 
time,  like  Fra  Angelico  and  Bartolommeo,  were  splendid  artists,  and  made  their  age  illustri- 


The  Royal  Academy. 


7i 


ous  by  their  works,  or,  like  Savonarola  and  Martin  Luther,  were  pioneers  in  a revolution 
of  truth  ; but  modern  professors  of  this  curious  system  of  self-sacrifice  appear  to  do  little  else 


23  X 36. 

No.  300.  “ Caught  Tripping .”  A.  W.  Bayes. 


than  fritter  away  the  great  boon  of  life  in  useless  observances  and  customs,  doing  no  good 
to  the  great  human  family  of  which  they  form  a part.  In  saying  this  much,  however,  we 
say  nothing  against  Mr.  Hardy’s  picture,  which  is  not  only  excellent  in  scenic  effect,  but 
also  as  a study  of  character. 


No.  300,  “ Caught  Tripping ,”  by  A.  W.  Bayes.  Here  the  scene  presented  to  us  is  that 
of  a Puritan’s  household.  The  master  of  the  house,  evidently  a stanch  non-conformist,  with 


7 2 


English  Art  in  1884. 


steeple-crowned  hat  and  clothes  of  somber  shade,  has  been  away  from  home,  and  now 
returning,  Bible  in  hand,  opens  the  door,  when,  dreadful  to  relate,  he  finds  his  three 
daughters — prim  lassies  in  white  caps  and  gray  dresses — engaged,  the  one  dancing  while  the 
others  are  approving  spectators  of  the  performance!  Had  they  only  been  engaged  in  sew- 
ing, or  reading  “ the  good  book,”  all  might  have  been  well,  but  this  exhibition  of  natural  feel- 
ing in  the  young  is  really  too  shocking.  The  dancer  trips  it  merrily,  and  looks  charming 
in  her  primly  modest  costume.  We  may  imagine  the  denoiiment,  the  righteous  wrath  of 
the  old  Puritan,  and  the  sound  lecturing  the  young  sinners  will  get  before  they  are  con- 
sidered purged  of  their  wickedness.  Technically,  the  de- 
sign is  full  of  merit,  the  incident  being  fully  told,  and 
most  amusingly. 

No.  714,  Mong  the  Thick-falling  Dews,”  by  Edgar 
Wills.  A pleasant  pastoral,  with  cattle  in  the  eventide 
settling  to  rest  among  the  thick  grasses  of  pasture-land 
near  the  margin  of  some  water.  The  time  appointed 
for  Nature’s  rest  approaches,  and  in  the  gathering  gloom 
the  group  of  cows — animals  so  specially  typical  of  peace- 
ful industry — forms  a natural  and  suggestive  adjunct  to 
such  a scene. 

No.  574,  “A  Side-Glance ” by  G.  Crosland  Robinson. 

“ She  gives  a side-glance  and  looks  down — 

Beware  ! ” 

A study  of  a bright,  pleasant-looking  girl,  who  glances 
downward  to  the  left.  As  regards  the  original  of  the 
picture,  the  warning  in  the  quotation  may  not  be  without  its  value  to  the  more  impression- 
able of  the  opposite  sex. 

No.  698,  “ The  Young  Squire”  by  Francis  S.  Walker.  In  the  corner  of  an  orchard  the 
young  gentleman  who  forms  the  motive  of  the  work  is  stretched  at  his  ease  full  length 

upon  the  grass,  amusing  himself  for  the  fleeting  hour  chatting  to  two  girls.  The  maidens 

are  not,  we  should  imagine,  of  exactly  the  same  sphere  of  life  as  the  squire,  and  they 
appear  to  be  looking  at  him  as  quite  a superior  being.  Of  course  the  damsels,  pretty  and 

innocent-looking  as  they  are,  may  have  that  shrewd  common  sense  and  commercial  instinct 

enabling  them  to  see  in  a young,  handsome,  and  wealthy  gentleman  not  at  all  a bad  match, 
matrime  nially  speaking.  But  it  is  quite  certain,  even  if  he  has  any  thought  of  settling 
for  life,  that  he  can  not,  according  to  the  laws  of  England,  marry  both  of  them,  and  to 


16  x 13. 

No.  574-  'A  Side-Glance." 

G.  C.  Robinson. 


The  Royal  Academy . 


73 


select  either  one  or  the  other  would  arouse  horrible  jealousy  and  heart-burning.  Besides,  it 
is  not  at  all  unusual  for  young  squires  to  see  a great  many  pretty  girls,  and  have  no  other 
thought  than  whiling  away  a passing  hour  or  so  in  agreeable  flirtation.  But  we  wish  them 
well,  for  they  certainly  form  a picturesque  and  charming  group. 


In  No.  329,  “ Ludgate  Hill , 1883,”  the  artist,  C.  J.  Watson,  illustrates  one  of  the  busiest 
centers  of  the  British  metropolis,  and  one  of  the  five  great  roadways  of  traffic  branching  off 
from  the  basilica  of  St.  Paul’s.  The  cathedral,  a peep  of  which  is  obtained  in  the  picture, 
is  second  only  in  size  to  St.  Peter’s  at  Rome,  and  has  ever  been  held  by  those  versed  in 
ecclesiastical  architecture  to  be  even  more  symmetrical  and  of  juster  proportions  than  the 
colossal  edifice  in  the  Eternal  City.  The  latter  building  has,  however,  the  advantage  in 
that,  while  the  fine  site  where  it  is  situated  is  kept  comparatively  open  and  free,  St.  Paul’s 
is  unfortunately  dwarfed  by  the  close  proximity  of  surrounding  warehouses,  which  scarcely 
permit  the  ordinary  passenger  the  opportunity  of  judging  of  the  architectural  beauties  of 
the  grand  old  cathedral. 

The  garden  of  a pretty  country  house,  with  clustering  ivy,  honeysuckle,  and  other  trail- 
ing plants,  and  two  girls,  one  seated,  the  other  reading  a letter  as  she  thoughtfully  paces 

10 


74 


English  Art  in  1884. 


No.  329. 


30  x 15. 

“ Ludgate  Hill, 


“ Pale  Death  knocks  with  impartial  hand 
At  prince’s  hall  and  peasant’s  hut.” 


In  one  of  the  curious,  cupboard-like  beds  that  we  occasionally 
meet  with  in  a country  cottage,  a peasant,  the  father  and  bread- 
winner for  the  family,  lies  dying.  His  figure  is  not  seen  in  the 
picture,  but  the  story  is  most  graphically  told,  and  he  is  surely 
there.  Bowed  down  in  grief,  his  wife  kneels  upon  the  floor, 
and  his  aged  mother  leans  against  the  side  of  the  bed.  The  children,  scarce  appreciat- 
ing the  magnitude  of  their  disaster,  are  yet  hushed  and  somewhat  frightened,  and  desist 
from  play.  The  artist  touches  with  a poet’s  feeling 
upon  the  lights  and  shadows  of  life,  and  in  this  design 
pictures  pathetically  the  universal  empire  of  the  dread 
foe  to  whom  both  prince  and  peasant  must  at  last  suc- 
cumb. 

No.  1618,  “ Hickory  Dickory  Dock','  by  Edith  Hipkins, 
is  a pleasant  study  of  a young  mother  holding  her  little 
child  up  to  the  clock,  while  she  repeats  the  old  nursery 
rhyme.  Miss  Hipkins,  who  is  steadily  improving  in  her 
art,  has  cleverly  availed  herself  of  the  attractive  sentiment 
of  motherhood  in  this  nice  little  work. 

No.  312,  “ Meditation by  A.  Glendening,  Jr.  A rather 
spruce  maiden  in  quilted  skirt,  and  wearing  a coquettish 
little  cap,  has  found  her  way  to  a corner  of  the  garden, 
where,  setting  down,  with  love-letter  in  her  lap,  she  resigns 
herself  to  her  thoughts.  What  those  thoughts  may  be  is 


No.  123. 


41  X 25. 

“ It  might  have  been." 


A.  L.  Vernon. 


along  the  walk,  has  formed  the  subject  for  a picture  which  the 
artist,  Arthur  L.  Vernon,  calls  “ It  might  have  been"  (No.  123). 
We  are  led  to  imagine  that  the  young  lady  is  reading  in  her 
just-received  missive  of  the  marriage  of  a former  admirer,  and  we 
must  also  suppose  she  reads  the  announcement  with  some  regret. 
She  is,  however,  still  young  enough  and  pretty  enough  to  lead 
one  to  hope  that  there  may  be  a solace  for  disappointed  love 
in  store  for  her,  so  that  her  future  path  in  life  may  not  be  an 
altogether  solitary  one. 

No.  26,  “ The  Pathos  of  Life','  by  R.  G.  Hutchison. 


THE  DECLARATION  OF  WAR. 
J.  D.  Linton. 


The  Royal  Academy. 


75 


72  X 84. 

No,  26.  “ The  Pathos  of  Life.”  R.  G.  Hutchison. 


left  to  the  spectator  to  determine,  but  they  evidently  are  not  sad  ones,  and  all  will  wish  so 
pretty  a lass  a happy  fate. 

No.  240,  “A  Ramsay  Wrecker ,”  by  J.  H.  E.  Partington.  A wild  sea,  scarce  settled 
down  from  recent  storm,  a stiffish  gale  blowing,  and  rain,  with  a good,  strong-built  fisher 
lass,  loaded  with  wreckage  which  she  is  conveying  along  the  sands  to  her  home,  are  the 
ingredients  from  which  Mr.  Partington  has  constructed  a clever  picture.  The  girl  has  not 
made  much  of  a “ haul,”  however,  her  prize  apparently  consisting  principally  of  planks  from 
the  ill-fated  ship.  But  she  seems  to  be  content,  and  has  probably  loaded  herself  to  the 
extent  of  her  power.  The  receding  tide  appears  to  show  in  the  distance  a vessel  which  has 


English  Art  in  1884. 


76 


fared  ill  upon  the  treacherous  sands,  and  it  is  possibly  from  that  source  the  fair  wrecker 
secures  her  spoil.  She  is  barefoot,  and  in  her  evident  physical  strength  looks  not  un- 
graceful. 

No.  1524,  “ Expectation ,”  by  G.  Hillyard  Swinstead.  A pastoral  subject,  with  barefooted 
country  girl  making  her  way  from  her  father’s  cottage,  followed  by  those  who  are  evidently 

her  pensioners,  some  geese  and  a calf.  The  creatures, 
fearless  where  they  have  ever  met  with  kindness,  seek 
from  her  hand  the  food  to  which  they  are  accustomed. 
This  charming  little  picture  is  nice  in  design,  scheme 
of  color,  and  general  effect.  In  the  white  geese  the 
artist  has  embodied,  while  he  has  carried  much  further, 
the  rudimentary  principle  of  coloring  that  everything 
harmonizes  with  white. 

Another  work  from  the  same  hand,  No.  1582,  with- 
out title,  but  with  the  quotation — 

“ Oh  ! merry  goes  the  time  when  the  heart  is  young, 

For  Paris  gives  the  pippin  for  the  best  song  sung” — 

is  rather  Watteau-like  in  motive,  and  very  different  from 
the  design  we  have  but  now  referred  to.  Here  we  see 
a group  of  ladies  and  gentlemen  who,  having  selected  a 
shady  spot  under  some  trees,  are  indulging  in  a little 
siesta  or  picnic  upon  the  greensward.  Careless  and  young,  when  the  heart  is  fresh  and  life 
is  in  its  spring-time,  the  group  reposes  in  joyous  ease,  and  makes  merry  with  music  and 
laughter.  Nor  have  the  merry-makers  forgotten  creature  comforts,  as  the  viands  spread 
upon  their  impromptu  table  testify. 

In  No.  313,  “Circe"  the  artist,  H.  M.  Paget,  presents  to  us  the  beautiful  enchantress  and 
daughter  of  Sol  seated  at  her  loom  with  a tiger  at  her  side.  One  can  hardly  suppose  that 
the  fell  sorceress,  who  worked  such  woe  to  the  unhappy  companions  of  Ulysses  in  turning 
them  into  swine,  or  behaved  with  no  less  cruelty  to  Scylla  and  others,  is  here  engaged 
weaving  her  mischievous  spells,  for  she  looks  quite  contemplative,  and  very  graceful  and 
pretty. 

No.  91,  “ Quiet  Hoiirs ,”  by  Percy  Bigland.  A capital  study  of  a young  fish-wife,  seated 
in  a kind  of  balcony  of  her  house,  in  a quaint  old  Flemish  fishing-village,  while  her  good- 
man  is  away  upon  the  seas.  She  has  thrown  off  her  sabots  for  greater  comfort,  and  looks 
quiet  and  contemplative  as  her  busy  fingers  ply  the  knitting-needles.  Her  face  is  of  that 


The  Royal  Academy. 


77 


better-class  type,  where  the  characteristics  of  her  race  are  sufficiently  and  yet  not  too  promi- 
nently marked.  Her  needs  in  this  life  are  few,  and  those  probably  supplied  in  the  humblest 
fashion  ; and  yet  she  looks  the  very  picture  of  contentment  and  happiness. 

No.  145,  “ When  the  Long  Days  are  ended by  W.  Frank  Calderon.  The  artist,  who  is 
the  son  of  Mr.  Calderon,  the  Academician,  adopts  an  entirely  different  role  of  art  from  his 


30  X 20. 

No.  1524.  “ Expectation .”  G.  H.  Swinstead. 

father.  But,  in  another  way,  his  designs  have  sentiment,  and  are  strong  in  their  adherence 
to  nature.  In  the  picture  before  us  (page  80)  a wagoner  brings  down  his  team  of  horses 
to  drink  in  the  shallow  part  of  a stream.  The  labors  of  the  day  are  over,  and  the  wearied 
beasts  lave  their  bodies  in  the  cool  waters.  The  sky  is  brilliant  in  the  light  of  the  depart- 
ing sun,  and  the  whole  scene  suggests  the  time  of  coming  quiet  and  rest. 

There  is  a character  of  bright  life  and  sunshine  in  H.  Tuck’s  “A  Corner  of  the  Hay- 


English  Art  in  1884 


78 


field','  No.  813,  that  carries  with  it  a peculiar  charm.  The  new-mown  hay  lies  thick  upon 
the  meadows,  and  the  hay-makers  are  busy  at  their  task  loading  the  wagons  with  Nature’s 


37  X 62. 


No.  1582.  uOh!  merry  goes  the  time  when  the  heart  is  young, 

For  Paris  gives  the  pippin  for  the  best  song  sung."  G.  H.  Swinstead. 


summer  harvest.  The  hay-field  and  its  calm,  joyous  associations  have  ever  been  a theme  of 
special  interest  with  the  English  artist.  In  sylvan  subjects  the  painters  of  France  have,  as 
a rule,  preferred  more  dramatic  designs,  or  those  in  which  the  sad  element  predominates,  as 


25  x 35- 

No.  313.  “ Circe."  H.  M.  Paget. 


we  find  in  their  aged  wood-cutters  or  weary  laborers,  while  in  colder  latitudes  and  more 
sterile  countries,  like  Russia,  works  of  this  class  appear  to  have  had  little  or  no  hold  upon 


The  Royal  Academy . 


79 


the  imaginations  of  the  people.  But  with  English  artists  the  hay-field  has  certainly  ever 
been  a fruitful  source  of  inspiration. 

No.  509,  “To  Antkea,"  by  G.  C.  Hindley.  An  exceedingly  vigorous  and  spirited  design, 
in  which  the  principal  figure  is  a gentleman,  who,  having  thrown  off  his  shoes  and  cast  his 


rapier  upon  the  ground,  pens  his  missive  to  his  lady.  Her  portrait  is  upon  the  table  before 
him,  and,  whether  inspired  by  that  or  by  more  tender  recollections,  certain  it  is  that  face 
and  figure  testify  to  the  writer’s  earnestness  of  purpose.  A friend,  appearing  upon  the  scene, 
presses  back  the  arras  as  he  enters  the  apartment. 

In  the  second  picture  by  this  artist,  No.  195,  “ The  Standard-Bearer ,”  the  study  is  chiefly 


8o 


English  Art  in  1884 


24  X 36. 

No.  145.  “ When  the  Long  Days  are  ended."  W.  F.  Calderon. 


r 


47  x 34- 

No.  813.  “-4  Corner  of  the  Hay-field — Les  Foins.”  H.  Tuck. 


The  Royal  Academy. 


8 1 


an  exercise  in  character  and  color.  The  face,  if  we  mistake  not,  expresses  firm  resolve  and 
inflexible  will,  so  that  he  who  in  battle  would  rob  him  of  his  sacred  trust  can  only  hope 
to  do  so  either  when  life  has  fled  or  all  power  of  resistance  is  beaten  down. 

No.  29,  “ I'm  for  the  Ferry ,”  by  Frank  E.  Cox.  A young  gleaner,  whose  armful  of 
corn  shows  that  she  has  been  diligent,  is  here  pictured  waiting  at  the  river-side  for  the 
ferry-boat.  Bronzed  by  the  sun  and  with  somewhat  wearied  gait,  for  the  girl  has  doubtless 
toiled  the  long  day  through  to  earn  the  little  bread  of  which  she  is  now  assured,  she  seeks 
her  home.  It  requires  no  imagination  to  picture  how  poor  and  humble  that  home  must 


28  X 22. 


No.  509.  “ To  Anthea."  G.  C.  Hindley. 


be,  for  it  is  but  the  poorest  who  are  driven  to  so  precarious  a means  of  obtaining  a scanty 
meal.  Mr.  Cox,  in  his  picture,  with  peculiar  grace,  teaches  a lesson  in  the  history  of  the 
laboring  poor,  and  fails  not  to  arouse  in  the  mind  a feeling  of  sympathy  which  is  near  akin 
to  charity. 

No.  229,  “ Africa ,”  by  Thomas  Hill,  pictures  some  fruit-sellers  with  their  store  of  melons 
and  oranges,  together  with  vegetables,  arranged  in  baskets  for  sale.  As  a study  of  character, 
the  design  is  powerful,  the  calm  and  somewhat  dignified  composure  of  these  people  as  they 
quietly  wait  for  customers,  and  the  hot  and  glowing  atmosphere  of  Africa,  being  excellently 
rendered. 


82 


English  Art  in  1884. 


No.  908,  “Ruth”  by  S.  J.  Solomon. 

“And  Ruth  said,  ‘Entreat  me  not  to  leave  thee,  or  to  return  from  following  after  thee.”’ 

One  of  the  most  pathetic  stories  of  the  Bible  is  here  beautifully  illustrated  by  the  artist. 
The  moment  selected  for  illustration  is  when  Ruth,  clinging  to  the  one  she  loved  so  well, 


45  x 35- 

No.  195-  “ The  Standard-Bearer .”  G.  C.  Hindley. 


uttered  the  beautiful  words  quoted  above.  The  scheme  of  color  in  the  picture  is  very  deli- 
cate, and  the  light  draperies  are  in  pleasant  harmony  with  the  bright  Eastern  atmosphere 
and  sky. 

The  first  among  English  animal-painters  is  Mr.  Briton  Riviere,  the  painter  of  “ Circe ,” 
and  of  “Daniel  in  the  Lions  Den”  familiar  to  us  in  countless  engravings.  This  painter, 
who  stands  to  the  present  generation  in  the  place  of  Landseer,  is  an  earnest  and  highly 
educated  worker,  aiming  at  a higher  level  intellectually  than  most  painters  who  devote 


The  T(oycil  Academy. 


83 


themselves  to  the  portrayal  of  animal  life.  In  Sir  Edwin  Landseer’s  works,  one  of  the 
principal  attractions  was  the  human  interest  and  character  with  which  he  endowed  the 
brute  creation;  in  Mr.  Riviere’s  pictures  (excepting,  perhaps,  in  his  11  Circe")  his  animals 


44  x 34- 

No.  29.  “I’m  for  the  Ferry!'  F.  E.  Cox. 


seem  to  live  and  move  as  in  nature.  In  “ The  King  and  his  Satellites' ’ sketched  on  page 
84,  there  is,  as  a critic  well  remarks,  “ no  departure  either  from  leonine  or  jackal  nature,  and 
yet  the  simple  incident  of  the  colossal  brute  stalking  onward,  with  his  abject  clients  at  his 
heels,  who  would  gladly  devour  him  had  they  the  chance,  tells  a story  eloquently.”  Nothing 
that  Mr.  Riviere  has  painted,  since  the  pictures  we  have  referred  to,  will  interest  more  than 
his  “ Lion  and  Jackals ,”  which  is  now  doubtless  in  the  hands  of  the  engraver. 

In  another  subject,  “ Actccon ” attacked  by  dogs,  an  upright  picture,  the  interest  is  cen- 
tered more  in  landscape;  but  in  “The  Eve  of  St.  Ba  rtholomew  ” we  have  another  composition 
which  is  far  more  popular.  In  spite  of  this,  Mr.  Riviere’s  natural  bent  is  to  paint  classical 
and  idealistic  subjects,  and  we  may  yet  see  many  works  of  imagination  from  his  hand. 


English  Art  in  1884. 


There  are  four  pictures  in  the  Academy  by  the  veteran  animal-painter,  T.  Sidney  Cooper, 
R..  A.,  one  of  which,  cows  on  the  banks  of  the  Thames,  near  Tilbury  Fort,  measures  about 
eleven  by  seven  and  a half  feet;  also  four  by  Richard  Ansdell,  R. A.  Industrious  as  ever, 
but  failing  in  health,  Mr.  Ansdell  sends  year  after  year  his  favorite  studies  of  sheep  in  the 
Highlands  of  Scotland;  also  scenes  from  the  south  of  Spain,  with  mules  with  their  gay 
trappings,  Spanish  peasants,  and  scenery  near  the  Alhambra.  Mr.  Ansdell  has  an  estate  in 
the  north  of  Scotland,  and  many  of  the  animals  in  his  pictures  are  portraits  from  life. 


36  x 63. 

No.  88.  “ The  King  and  his  Satellites.''  Briton  Riviere,  R.  A. 


The  Royal  Academy 


85 


55  x 47- 

No.  52.  “ The  Eve  of  Si.  Bartholomew 
Briton  Riviere,  R.  A. 


574  x 414. 

No.  l6ll.  “Spring : Isle  of  Skye.” 
R.  Ansdell,  R.  A. 


Since  Sir  Edwin  Landseer  and  Mr.  Ansdell  began  to  paint,  and  to  interest  the  public 
in  Highland  scenes,  a new  generation  of  animal  and  landscape  painters  crowds  the  walls  of 
the  Academy  with  large  canvases.  Among  the  most  important  and  successful  of  these  is 
Mr.  H.  W.  B.  Davis,  R.  A.,  one  of  whose  pictures  of  cattle  is  sketched  below.  The  interest 
of  this  picture  is  great  in  landscape,  in  the  color  of  the  hills,  and  in  the  wide,  open-air 


48  X 84. 

No.  286.  “On  the  Hill-side , clearing  after  Rain.”  H.  W.  B.  Davis,  R.  A. 


86 


English  Art  in  1884. 


effect  which  the  painter  has  rendered  with  great  truthfulness  and  beauty.  But  this  artist’s 
cattle  should  always  be  noticed  for  the  close  study  of  nature  in  every  movement,  and  for 
the  almost  monumental  or  sculpturesque  character  which  he  gives  to  his  animals.  Mr. 
Davis  was  educated  as  a sculptor,  and  the  value  of  this  early  training  is  generally  evident. 
In  1876  he  sent  to  the  Academy  a large  picture  of  “ Mares  and  Foals, ” and  in  1877  a 
picture  called  “ Contentment  ” — two  oxen  by  the  sea-shore — in  both  of  which  the  exceptionally 
fine  grouping  of  animals  was  observed. 


No.  691.  “ The  Rear-Guard."  Heywood  Hardy. 


With  Mr.  Davis  we  should  naturally  mention  another  painter  of  the  same  scenes,  Mr. 
Peter  Graham,  R.  A.,  whose  Scotch  cattle,  wandering  between  mist-covered  hills,  are  perhaps 
even  better  known  ; but  we  must  refer  to  his  work  in  speaking  of  landscape. 

A very  interesting  animal  as  well  as  genre  painter  should  be  mentioned  here;  one 
closely  allied  to  Mr.  Riviere  in  selection  of  subjects,  such  as  dogs  and  children  in  friendly 
relations,  is  Mr.  Heywood  Hardy.  His  studies  of  animals,  lately  published  as  etchings,  heads 
of  lions,  horses,  etc.,  are  popular  in  the  print-shops,  and  every  year  his  pictures  are  on  the 
Academy  walls.  For  the  last  year  he  has  been  living  in  France,  and  has  sent  home  some 


The  Royal  Academy. 


8 7 


admirable  studies  of  French  horse-soldiers.  The  “rear-guard”  of  dragoons  riding  up  a quiet 
road  in  Brittany,  in  rather  free-and-easy  fashion  ; the  last  man,  saluting  a peasant-girl  leading 
a cow  by  a string,  has  an  air  of  vraisemblance  seldom  achieved.  Mr.  Hardy  gives  exact 


portraits  of  the  style  and  accoutrements  of  the  men;  they  “ sit  on  their  horses"  unmistak- 
ably, the  road  is  a French  road,  and  there  are  ease  of  manner  and  an  open-air  effect  which 
are  so  often  missed  in  similar  subjects.  All  this  we  may  see  in  the  foregoing  sketch,  which 
Mr.  Hardy  has  made  for  us;  also  in  the  spirited  drawing  of  the  central  figure  in  his  second 


88 


English  Art  in  1884. 


34 x 6i- 

No.  615.  “ Changing  Pasture  on  the  Roman  Campagna."  R.  Beavis. 


picture,  “ The  Sale  of  Cavalry-Horses ,”  a dragoon,  in  undress,  riding  through  the  fair.  The 
large  annual  sales  of  horses  in  the  interior  of  Brittany  are  great  opportunities  for  artists. 
They  are  held  at  stated  times  at  Carhaix  and  other  towns  easily  reached  from  Paris ; also 
at  Pont  Aven,  where  a little  colony  of  French  and  American  students  work  during  the 
summer  months. 

Probably  no  one  can  paint  horses  much  better  at  the  present  time  than  Mr.  R.  Beavis, 

an  artist  who  has  been  before  the  public  for  many  years  without  receiving  any  special  rec- 

ognition from  the  Academy.  He  has  a wide 
range  of  subjects — historical,  marine,  and  pas- 
toral— from  studies  in  Italy,  France,  Holland, 
and  England.  Mr.  Beavis  paints  in  oils  and 
water-colors,  and  last  year  sent  to  the  Society 
of  Painters  in  Water-Colors  a study  of  horses 
under  trees  near  Fontainebleau  that  indicated 
his  special  power  as  an  animal-painter. 

One  of  the  most  prominent  of  the  young 

painters  in  this  branch  of  art  is  Mr.  S.  E. 

Waller.  He  is  very  successful  in  the  tech- 
No.  597.  “ The  Orphans."  S.  E.  Waller.  nique  of  Iiis  art,  owing  much  to  the  advice 


44  X 56. 


The  Royal  Academy . 


89 


of  his  friend  Briton  Riviere.  For  a comparatively 
young  artist  his  work  is  excellent,  and,  should  he  suc- 
ceed in  maintaining  his  present  progress,  it  is  not  diffi- 
cult to  foretell  his  attainment  in  the  future  to  academic 
honors.  The  artist’s  wife,  Mrs.  Mary  L.  Waller,  is  a 
portrait-painter,  and  contributed  “ Mildred , Daughter  of 
Colonel  Try  on]'  to  the  present  exhibition.  Mr.  Waller’s 
painting  of  “ The 

in  a park,  which  a young  lady,  who  is  kneeling  in  the 
snow,  is  feeding  from  a basket. 

Another  young  painter  of  promise  is  Mr.  E.  S. 
Montefiore,  whose  picture  of  “ Leaving  Labor"  horses 
in  a field  (his  first  important  picture  in  the  Academy), 
was  a success  last  year.  “ The  Leader  of  the  Team  ” 
is  well  indicated  in  the  accompanying  sketch  by  the 
artist. 

Mr.  Emms  has  chosen  a popular  subject  in  the  three 
noble  St.  Bernard  dogs,  who,  having  returned  from  their  trained  mission  of  mercy  in  the 
snow,  are  now  waiting  admittance  at  the  monastery- 
door.  Sent  out  by  the  monks,  and  provided  with 
flasks  and  other  means  of  succor  for  those  luckless 
travelers  who  may  have  been  overwhelmed  in  deep 
snow-drifts  in  the  dangerous  mountain  defiles,  the 
grand  brutes,  with  an  all  but  human  instinct,  have 
fulfilled  their  duty,  and  now  seek  for  readmittance 
and  shelter.  Without  being  able  to  sympathize  with 
the  cynical  asceticism  of  Lord  Byron,  in  his  lines — 

“ I never  had  a friend  but  one, 

And  there  he  lies  ” — 

upon  the  tomb  of  his  favorite,  at  Newstead,  there  is 
not,  perhaps,  in  the  animal  creation  anything  with  the 
sagacity,  the  intelligence,  and  the  unselfish  affection 
of  the  dog.  Starve  and  maltreat  your  canine  follower, 
as  did  Mr.  Bill  Sykes  of  happy  memory,  still  he  will  No.  248.  “ The  Return  to  the  Monastery.” 
be  faithful  to  you.  Call  upon  his  intelligence  in  a John  Emms. 


Orphans  ” represents  a couple  of  deer 


50  X 36. 


“ The  Leader  of  the  Team." 
E.  B.  Stanley  Montefiore. 


12 


9° 


English  Art  in  1884. 


7x9. 

No.  598.  “ The  Cottage- Door."  W.  B.  Baird. 


manner  scarcely  to  be  credited,  as  in  the  case  of  the  Scotch  collie  in  charge  of  his  flock, 
and  he  will  respond ; or  venture  upon  personal  chastisement  with  the  most  deadly  and 
dangerous  of  his  kind,  as  did  Charlotte  Bronte  with  her  formidable  bull-dog,  and  he  will 
submit.  Faithful,  stanch,  and  true,  of  all  domestic  animals  commend  us  to  the  dog. 

No.  598,  “ The  Cottage-Door ,”  by  W.  B.  Baird,  is  a group  of  household  pets  that 
appeals  to  the  sympathies  of  man  in  another  way,  in  that  it  is  ornamental  and  also  edible. 
Dogs  are  not  eaten,  at  least  not  in  civilized  countries.  Mr.  Baird  pictures  a hen  with  her 
brood  of  chicks  on  the  cottage  door-step.  In  Ireland  it  would  be  the  pig  that  would  be 


40  x bo. 

No.  324.  “ The  Gillie's  Kitchen."  J.  S.  Noble. 


The  Royal  Academy 


9i 


42  x 32. 

No.  845.  “ The  Squire's  Pets."  Frank  Dicey. 


the  courted  and  familiar  companion ; while  in  Great  Britain  the  humblest  cottage  is  not 
without  that  ornamental,  useful,  and  tasty  luxury,  the  fowl. 

No.  324,  “ The  Gillie's  Kitchen ,”  by  J.  S.  Noble,  pictures  the  spoils  of  the  chase  in  the 
body  of  a fine  stag  and  other  game,  together  with  a blood-hound  and  a deer-hound.  Capital 
in  texture,  the  artist  is  also  particularly  apt  in  the  composition  of  his  pictures.  It  is  a diffi- 
cult thing  to  fall  gracefully,  but  Mr.  Noble’s  animals  always  fall  well,  and  the  group  before 
us  is  capitally  arranged,  the  pen-and-ink  sketch  indicating  the  lines  of  composition  with 
unusual  exactness. 


40  X 60. 

No.  391.  “ Caught  at  last : Retribution."  Walter  Hunt. 


92 


English  Art  in  1884. 


No.  845,  “ The  Squires  Pets, ” by  Frank  Dicey.  In  the  breakfast-room  of  an  ancient 
mansion  is  assembled  a group  consisting  of  the  squire,  his  daughter,  and  a brace  of  hand- 
some hounds.  There  is  a double  entendre  in  the  title,  for  doubtless  the  lovely  girl,  who 
stands  holding  in  her  hand  a dainty  morsel  for  one  or  other  of  the  expectant  favorites,  is 


50  x 40. 

No.  1613.  “ Steerage-Passcngersd  J.  Yates  Carrington. 


as  much  a pet  with  the  owner  of  the  house,  who  sits  at  the  great  fireplace  reading  his  news- 
paper, as  the  dogs  who  have  contributed  their  best  to  many  a good  day’s  sport.  The  ani- 
mals turn  their  heads  up  wistfully  toward  their  young  mistress,  and,  being  well-bred  dogs, 
as  becomes  the  followers  of  an  ancient  house,  they  do  not  fawn  or  jump  up,  but  await  in 
silence  the  expected  favor.  Mr.  Dicey  is  a skillful  portrait-painter,  and  we  rather  imagine 
that  the  subject  is  altogether  portraiture ; and,  if  so,  the  artist  has  woven  his  design  into  an 
exceedingly  interesting  little  scene  of  domestic  life. 

No.  391,  “ Caught  at  last:  Retribution ,”  by  Walter  Hunt,  is  an  amusing  and  suggest- 


The  Royal  Academy . 


93 


ive  incident  in  animal  life.  Stealthily,  as  is  his  wont,  a fox  has  stolen  down  upon  the 
sheep-fold  and,  the  shepherd  being  absent,  has  made  prey  of  a little  lamb.  But  the  brigand 
meets  with  his  punishment  in  the  very  moment  of  success ; for,  scarcely  has  he  had  time 
to  seize  upon  and  kill  his  little  victim,  ere  the  trusty  sheep-dog — possibly  alarmed  by  the 
bleating  of  the  fold — appears  upon  the  scene,  and,  seizing  Reynard  flagrante  delicto , he  at 
once  administers  condign  punishment  and  lays  the  marauder  dead  upon  the  field.  There 
is  here  capital  opportunity  for  the  delineation  of  animal  character.  The  distant  sheep, 
strong  it  is  true,  but,  fortunately  for  man,  proverbially  timid  and  unconscious  of  the  way  in 
which  to  apply  their  strength ; the  slaughtered  lamb  and  his  dead  destroyer,  with  the  active 


No.  1571.  “Fatal  Fidelity .”  E.  M.  Cox. 


and  handsome  collie,  panting  with  the  exertion  of  his  victory,  standing  triumphant  as  he 
looks  anxiously  toward  his  approaching  master,  form  together  a most  effective  and  telling 
design. 

These  are  works  which  become  very  popular  as  engravings,  and  in  every  year’s  exhibi- 


94 


English  Art  in  1884. 


tion  of  the  Academy  some  painter  achieves  success  by  a happily  chosen  subject.  Thus  Mr. 
Edwin  Douglas,  with  his  graceful  pictures  of  Jersey  cows  and  maidens,  and  Mr.  C.  Burton- 
Barber,  with  his  dogs  and  children,  have  become  widely  known. 


Other  animal-painters  whose  names  should  be  mentioned  are  Mr.  Bouverie  Goddard,  the 
painter  of  “ Lord  Wolvertons  Blood-hounds" ; Mr.  Samuel  Carter,  the  painter  of  “ Herne,  the 
Hunter Mr.  John  Charlton;  Mr.  J.  Yates  Carrington;  Mr.  J.  T.  Nettleship,  who  sent  a 
large  picture  of  a lioness  and  cub  just  saved  from  drowning;  and  Mr.  Blinks,  whose 
“ Victory  ” is  sketched  on  page  xiii. 

No.  1571,  “ Fatal  Fidelity ,”  by  E.  Morant  Cox.  A capital  and  very  suggestive  incident 
excellently  told.  During  the  Civil  Wars  some  of  the  Parliamentarian  troops  have  lighted 
upon  the  mansion  of  a Cavalier,  which  they  are  about  despoiling,  but,  before  doing 
so,  they  make  eager  search  for  the  master  of  the  house.  He,  however,  is  securely 
hidden  away,  and  might  have  escaped  in  safety,  but  for  the  too  faithful  attachment  of  his 
little  spaniel  dog,  which,  having  run  away  from  his  mistress,  flies  at  once  to  the  wainscot, 
where,  behind  some  sliding-panels,  his  master  is  secreted,  and  there  stands  whining  and  beg- 
ging for  admission.  This  is  not  lost  upon  the  pursuers,  who  at  once  guess  the  meaning  of 
the  animal’s  importunity,  and,  while  some  of  them  hasten  to  avail  themselves  of  the  clew 


LA  COCARDE  TRICOLORE,  EARLS,  1789. 
G.  P.  Jacomb-Hood. 


The  Royal  Academy. 


95 


thus  afforded,  others  seize  upon  the  lady  of  the  house,  who  in  wild  alarm  is  descending  the 
staircase  with  the  view  of  recalling  the  dog  to  her  side.  But  it  is  now  too  late,  and  the 
faithful  animal,  all  unwittingly,  has  betrayed  his  master  to  his  foes. 

Of  the  painters  of  mountains,  river,  and  sea,  artists  who  devote  themselves  almost 
entirely  to  Nature  and  live  for  the  most  part  in  the  midst  of  the  scenes  they  depict,  there 
is  a larger  number  in  England  every  year.  There  are  the  artists  who  chiefly  study  the 
Thames,  like  Vicat  Cole,  Keeley  Halswelle,  Alfred  Parsons,  and  W.  L.  Wyllie ; others 
who  are  more  at  home  on  the  mountains,  like  Peter  Graham,  J.  McWhirter,  A.  R.  A.,  and 
C.  G.  Johnson;  others,  again,  who  work  on  the  sea-coast,  like  J.  C.  Hook,  R. A.,  John 
Brett,  A.  R.  A.,  Hamilton  Macallum,  C.  N.  Hemy,  G.  A.  Waterlow;  and  others  who,  like 
Henry  Moore,  work  actually  out  at  sea  in  rough  and  windy  weather.  We  can  do  little 
more  than  indicate  in  these  pages,  by  means  of  sketches  by  the  artists,  the  subjects  and 
styles  of  some  prominent  landscapists.  Without  color,  a verbal  description  of  many  landscapes 
might  prove  uninteresting. 

The  principal  picture  by  Vicat  Cole,  R.  A.,  who  is  painting  a series  of  views  of  the  river 
Thames  “ from  its  source  to  the  sea,”  was  a view  outside  the  cathedral  city  of  Oxford,  seen 


under  sunshine,  with  the  green  foliage  of  early  summer.  Two  other  pictures  by  him  were 
painted  at  Bisham  and  Mapledurham  Lock.  The  rich,  sleepy  aspect  of.  pasture-land,  near 
the  upper  reaches  of  the  Thames,  where  the  water  is  kept  up  at  all  seasons  by  means  of 


96 


English  Art  in  1884. 


locks,  and  often  overflows  the  meadows,  is  indicated  in  Mr.  Cole’s  sketch.  We  have  only 
to  picture  to  ourselves  the  bright,  fresh  green  of  the  fields,  the  dark-brown  stems  of  the 
oaks  and  elms,  and  the  gray  willows  on  the  banks,  “ with  their  feet  in  the  water,”  the  hay- 
makers at  work,  and  the  sheep  at  rest  by  the  road-side,  to  realize  the  landscape  of  Constable 
and  Gainsborough — the  source  of  inspiration  of  Goldsmith  and  Gray. 

All  down  the  river,  between  Oxford  and  Maidenhead,  in  these  modern  days,  the  artist’s 
house-boat  ” is  to  be  seen,  generally  moored  in  some  cozy  corner,  half  hidden  among  the 


48  X 84. 

No.  902.  “ The  Plowman  homeward  plods  his  Weary  Way.”  B.  W.  Leader,  A.  R.  A. 


trees.  This  is  the  new  method  of  work,  a house  and  studio  afloat  giving  opportunities  for 
a closer  study  of  nature  than  working  on  shore. 

Here  Mr.  Keeley  Halswelle  lived  for  several  summers,  and  painted  the  series  of  studies 
of  the  Thames  which  formed  a separate  exhibition  in  London  last  season.  Mr.  Halswelle 
is  an  almost  unique  example  of  a successful  figure-painter  abandoning  figures  altogether  and 
painting  landscape  pure  and  simple.  His  landscapes  are  most  carefully  planned  with  this 
idea ; the  balance  of  parts  is  so  perfect  that  a figure  introduced  even  in  the  distance  would 
injure  the  composition.  The  floating  beds  of  water-lilies  people  the  landscape  and  endow  it 
with  almost  human  interest 

Many  other  painters  of  the  upper  Thames  we  might  mention  here.  Some  artists,  like 


The  Royal  Academy. 


97 


Mr.  G.  D.  Leslie,  R.  A.,  have  houses  near  its  banks.  Last  season  Mr.  Leslie  sent  to  the 
Academy  a charming  picture  called  “ Thames  Roses  ” — a girl  in  a boat-house  seated  by  the 
river;  also  another  small  picture  of  three  figures  at  Benson  Ferry.  We  mention  Mr.  G.  D. 
Leslie’s  name  here  because  his  work  has  an  old  English  quaintness  and  color  which  har- 


80  x 50. 

No.  558.  “ The  Vale  of  Light."  Ernest  Parton. 


monize  well  with  these  surroundings.  This  is  the  landscape  which  Mr.  Alfred  Parsons  and 
Mr.  Abbey  have  made  so  familiar  in  book-illustration,  fascinating  scenery  which  we  hardly 
care  to  leave  for  the  flat  lands,  for  woods,  mountains,  and  sea,  where  so  many  artists  take  us 
in  their  pictures. 

Mr.  J.  C.  Hook,  R.  A.,  and  Mr.  J.  W.  Oakes,  A.  R.  A.,  both  veteran  painters  of  sea  and 


13 


98 


English  Art  in  1884 


24  x 39. 

No.  1621.  “ Where  the  Wild  Grass  fritiges  the  Forest."  Val  Davis. 


landscape,  contribute  annually  many  important  works.  Mr.  B.  W.  Leader,  A.  R.  A.,  paints 
flat  land  under  sunset  with  poetic  feeling ; the  land  of  Crome  it  might  be,  but  in  reality  not 
far  from  his  home  at  Worcester  in  the  midland  counties.  In  the  paintings  of  Vicat  Cole 


No.  325.  “ Cut  off  by  the  Floods Flitcroft  Fletcher. 


30  x 54. 


The  Royal  Academy. 


99 


and  Leader  there  is  more  consideration  given  to  composition  than  in  the  work  of  many  of 
the  prominent  landscape  artists.  Leader  in  his  fine  work  showing  the  plowman’s  team 
returning  in  the  evening  light,  and  the  old  village  church-spire  rising  sharp  against  the  sky, 
has  been  compared  to  Herr  Heffner  and  some  painters  of  the  French  school ; but  in  the 
English  landscapes  of  the  old  school  the  first  thought  is  generally  local  accuracy,  the  second 
the  sentiment  to  be  conveyed. 

Perhaps  Mr.  Ernest  Parton’s  poetic  “Vale  of  Light ” (558),  which  hung  in  the  center 
of  the  fifth  gallery,  may  have  more  in  common  with  the  school  of  impressionists ; and  we 
may  see  in  the  sketches  in  these  pages  evidence  of  much  poetic  sentiment  and  even  high 
ambition  in  this  branch  of  art.  There  are  beauty 

and  suggestiveness  in  the  silence  of  Mr.  Val  | ~ ~~~ 7 

Davis’s  “ Where  the  Wild  Grass  fringes  the 


a view  near  Edinburgh,  looking  from  the  heights 

over  the  river  Forth,  in  which  fir-trees  take  the  place  of  figures  and  form  an  important  part 
of  the  subject.  This  was  Mr.  McWhirter’s  principal  picture  of  the  year. 

There  are  much  feeling  for  composition  and  breadth  of  effect  in  the  landscapes  by  Mr.  C. 
E.  Johnson,  who  is,  at  the  same  time,  a close  student  of  nature.  The  lovely  banks  of  the 
river  Wye  have  often  been  painted,  but  the  grandeur  of  the  scene,  looking  from  the  heights 
above  the  junction  of  the  two  rivers  (the  Wye  and  the  Severn),  has  seldom  been  so  well 
depicted.  This  large  landscape  was  painted  entirely  on  the  spot.  This  is  Mr.  Johnson’s 


Forest ,”  with  the  little  white  calf  standing  by  a 
pool ; close  the  eyes  a little,  when  looking  at 
the  sketch,  and  you  will  get  the  effect  of  this 
picture;  better,  also,  of  Mr.  Flitcroft  Fletcher’s 
“Cut  off  by  the  Floods"  (325).  “My  Love  has 
gone  a-sailing"  is  the  work  of  a young  Scotch- 
man, which  has  been  purchased  for  “ a posses- 
sion forever  ” by  the  Council  of  the  Royal 
Academy.  The  small  sketch,  by  David  Murray 
(on  page  105),  will  serve  to  identify  the  pic- 
ture, which  has  fine  qualities  if  it  is  not  a great 
example  of  landscape  art. 


Mr.  McWhirter,  A.  R.  A.,  is  a figure  as  well 
as  landscape  painter,  but  this  year — as  a few 
years  ago,  when  he  painted  a single  birch-tree, 
called  “ 7 he  Lady  of  the  Woods  ” — he  has  given 


No.  491.  “ The  Windings  of  the  Forth.” 

J.  McWhirter,  A.  R.  A. 


IOO 


English  Art  in  1884 


. 54  X 84. 

No.  8ll.  “ The  Wye  and  the  Severn C.  E.  Johnson. 


“ Le  Dent  du  Geant." 


E.  T.  Compton 


The  Royal  Academy 


IOI 


39  x 66. 

No.  297.  “ Windsor  under  Snow."  V.  P.  Yglesias. 


method,  as  distinct  from  many  English  artists  we  could  name,  who  only  make  studies  for 
their  pictures  in  the  open  air.  There  is  exceptionally  fine  quality  of  color  in  the  rocky 
foreground  on  the  left  of  this  picture,  which  is  worthy  of  a place  in  the  National  Gallery. 

Mr.  E.  T.  Compton  takes  us  to  the  Chamouni  district  of  Switzerland,  with  its  glaciers 
and  treacherous  ice-fields.  This  carefully  painted  picture  will  scarcely  have  been  noticed  in 
the  Academy,  as  it  hung  near  the  ceiling ; but,  as  the  sketch  indicates,  it  is  an  elaborate 
and  interesting  transcript  of  nature  that  should  not  be  overlooked. 


32  x 62. 


No.  239.  “Rye."  V.  P.  Yglesias. 

“ Here  flourish  the  flowers  of  the  field, 
Where  once  ships  anchored.” 


102 


English  Art  in  1884 


No.  645.  “ On  the  River."  G.  Boyle. 


The  town  of  Rye,  once  a seaport,  like  Arundel  in  Sussex,  the  seat  of  the  present  Duke 
of  Norfolk,  stands  high  above  the  surrounding  country,  separated  from  the  sea  by  miles  of 
alluvial  land  covered  with  coarse  grass  and  wild  flowers.  The  interest  in  Mr.  Yglesias’s 
pictures  is  strong  locally,  for  the  artist  at  Windsor  and  at  Rye  has  given  us  facts  both 
in  winter  and  spring. 

Nothing  could  be  brighter  or  more  suggestive  of  early  summer-time  on  English  rivers, 


34  x 60. 


No.  582.  “May-lime."  Basil  Bradley. 


The  Royal  Academy 


103 


60  X 36. 

No.  152.  “ The  Haunt  of  the  Heron." 

R.  W.  A.  Rouse. 


No  41 1.  “A  Wintry  Dirge." 
Alfred  East. 


when  the  white-thorn  is  in  bloom,  when  the  fresh  green  grows  down  to  the  water’s  edge, 
and  the  water-lilies  are  peeping  their  heads  above  the  floating  leaves,  than  Mr.  Basil  Bradley’s 
picture  of  “ May-time ” (582).  Such  color  and  sunshine  as  are  here  depicted,  Mr.  Bradley, 
who  is  a skillful  animal-painter,  has  given  us  often  in  water-colors  at  various  exhibitions. 


50  x 30.  bo  x 40. 

No.  865.  “ The  Plowman  homeward  plods  his  Weary  Way.”  No.  5I5-  “ The  Birthplace  of  the  Brook." 

Allen  C.  Sealy.  Sir  Arthur  Clay,  Bart. 


44  x 72. 

No.  759-  “ Rievaulx  Abbey."  John  Pf.dder. 


No.  264.  “ Across  the  Common."  Adrian  Stokes. 


The  Royai  Academy. 


io5 


There  is  wind  blowing  through  the  trees  in  “A  Wintry  Dirge''  by  Alfred  East  (41 1); 
also  in  “ Across  the  Common"  (264),  by  Adrian  Stokes.  The  character  of  some  other  land- 
scapes is  indicated  on  these  pages;  Mr.  Marma- 
duke  Langdale’s  (1624)  is  well  expressed,  but 
Mr.  Frank  Walton,  in  745,  does  injustice  in  his 
drawing  to  one  of  the  best  landscapes  in  the 
Academy.  Sketches  are  also  included  here  of 
works  by  G.  Boyle,  John  Pedder  in  his  little 
drawing,  Sir  Arthur  Clay,  Allen  C.  Sealy,  T. 
Hope  McLachlan,  Frank  Dillon,  and  R.  W.  A. 
Rouse. 

Mr.  W.  F.  Wyllie  takes  to  the  lower  reaches 
of  the  Thames  and  Medway,  crowded  with  barges 
and  shipping  at  high  water.  He  is  one  of  the 
few  young  artists  who  have  turned  to  account  the  busy  aspects  of  the  lower  Thames,  and 
shown  us  how  steamers,  steam-tugs,  and  even  iron  bridges,  can  be  made  picturesque.  There 
is  ample  material  here,  especially  near  high  water,  when  the  great  steamers  are  arriving  at 
the  port  of  Fondon. 

Another  picture  by  Mr.  W.  F.  Wyllie  (1589),  “ The  Close  of  a Winter's  Day"  shows 
the  shattered  hulk  of  an  old  “ man-of-war,”  where  a gang  of  convicts  are  being  marched 


24  x 36. 

No.  1624.  Marmaduke  A.  Langdale. 


14 


io6 


English  Art  in  1884. 


37  X 54- 

No.  206.  “ On  Morecambe  Sands."  T.  Hope  McLachlan. 


36  x 48. 

No.  928.  “My  Love  has  gone  a-sailing."  David  Murray. 


The  Royal  Academy 


107 


No.  1589.  “ The  Close  of  a Winters  Day."  W.  L.  Wyllie. 


through  the  snow  from  work — a strange  subject,  treated  with  considerable  dexterity  and 
power. 

Mr.  Peter  Graham,  R.  A.,  paints  mountains,  sea,  and  mist,  and  sometimes  heads  of 
Scotch  cattle  on  the  hills.  This  year  he  has  given  us  a striking  and  solemn  landscape  of 
11  Dawn"  among  the  mountains.  Mr.  Graham,  like  Mr.  Colin  Hunter,  A.  R.  A.  (whose 
“ Herring-Market  at  Sea  ” is  sketched  on  page  v),  is  one  of  a company  of  Scotch  land- 
scape-painters of  undoubted  force  and  character.  Mr.  Graham  and  Mr.  Hunter  are  repre- 
sentative of  a class  of  Scotch  painters  who  have  earned  the  distinction  of  being  denounced 
annually  in  the  columns  of  the  London  “ Athenaeum,”  while  the  latter  has  lately  been  praised 
in  an  article  by  William  Morris,  poet  and  art-critic,  a writer  who  has  few  good  words  for  any 
member  of  the  Academy.  Mr.  Colin  Hunter’s  “ Herring-Market " is  a fine,  suggestive 


49  x 72. 


No.  27.  “ Dawn."  Peter  Graham,  R.  A, 


io8 


English  Art  in  1884. 


picture,  rather  coarsely  painted,  but  composed  with  skill.  Mr.  Graham’s  work  has  the  ap- 
pearance of  a direct  transcript  from  nature.  Like  his  beautiful  “ Sea-Mist ,”  sketched  below, 
it  is  landscape  portraiture  seen  under  various  atmospheric  conditions. 

As  thorough  in  the  analysis  of  atmospheric  effects  on  sea  and  shore,  but  more  finished 
in  detail,  are  the  works  of  Mr.  John  Brett,  A.  R.  A.,  who  generally  chooses  sunny  effects  on 
the  English  coast,  where  there  is  water  of  the  purest  blue,  and  where  rocks  are  bathed  in 
sunshine.  In  “ MacLeod' s Maidens"  the  interest  is  much  taken  up  in  the  resemblance  to 


84  x 144. 

No.  216.  “Sea-Mist.”  Peter  Graham,  R.  A. 


human  beings  of  the  notorious  rocks  off  the  Isle  of  Skye,  a resemblance  which  the  artist  has 
made  the  most  of,  if  not  exaggerated.  But  we  have  no  painter  of  calm  blue  sea  to  equal 
Mr.  Brett.  He  has  also  painted  Granton  Pier  in  a storm,  but  the  painter  of  wind  and  high 
seas  is  Mr.  Henry  Moore,  who  flits  about  the  English  Channel  like  the  stormy  petrel,  delight- 
ing in  a gale ; his  wave-drawing  is  unsurpassed,  and  his  studies  of  clouds  are,  as  in  old 
Dutch  pictures,  an  important  part  of  the  composition. 

A mention  of  all  the  pictures  of  rivers,  sea,  and  sea-coast,  which  crowded  the  Academy 
walls  this  year,  would  fill  a separate  volume;  we  insert  a few  more  sketches  before  passing 
to  the  portraits.  Many  other  landscapes  will  be  found  in  the  Grosvenor  Gallery  section 
and  in  the  water-colors. 

Porti ait-painting  is  not  a branch  of  art  which  is  especially  interesting  to  illustrate  by 
sketches,  but  a few  words  must  be  devoted  to  it  here,  as  the  British  school  of  portraiture 


The  Royal  Academy 


109 


42  x 72. 

No.  395.  “ MacLeod' s Maidens,  Skye."  ( Natural  Sculpture)  J.  Brett,  A.  R.  A. 


36  x 54- 

No.  1626.  “ Off  the  Lizard,  Penzance : Boats  starting  east  for  the  Fishing."  Henry  Moore. 


I IO 


English  Art  in  1884. 


is  historically  famous.  Of  the  seven  presidents  of  the  English  Royal  Academy,  Reynolds, 
West,  Lawrence,  Shee,  Eastlake,  Grant,  and  Leighton,  four  were  professed  portrait-painters, 
while  all  of  them  practiced  the  limner’s  art  to  an  appreciable  extent.  But,  in  addition  to 
these,  there  have  been  men  like  Kneller — the  only  artist  who  was  ever  made  a baronet 


No.  251.  “Mrs.  William  Huntingdon  and  Child."  James  Sant,  R.  A. 


— Opie,  Raeburn,  Hoppner,  Jackson,  and  Romney,  all  portrait-painters  of  a marked  genius 
that  would  have  distinguished  them  in  any  country  and  in  any  age.  Some  masters,  like 
Holbein,  Kneller — to  whom  we  have  referred — Vandyck,  Lely,  and  others,  although  for- 
eigners by  birth,  made  England  their  home  by  adoption,  and  fostered  and  brought  to 
maturity  art  tastes  indigenous  to  the  soil.  The  characteristics  of  British  portraiture  have 
ever  remained — representation  based  upon  truthfulness  as  a leading  principle,  no  mere  map 
of  face  or  form,  but  that  likeness  which  disclosed  individuality  and  the  character  and  dispo- 


The  Royal  Academy . 


1 I i 


sition  of  the  person  represented.  This  class  of  portrait- 
ure, governed  by  good  taste,  has  been  the  foundation 
of  our  school  of  art  in  this  branch  ; and,  like  portrait- 
painting in  general,  it  has  furnished  us  with  the  best 
kind  of  history  of  which  the  art  of  painting  is  capable. 

Henry  VIII,  despotic  and  selfish  as  he  certainly  was, 
was  fortunately  a man  of  learning,  and,  whether  from 
love  of  magnificence  or  other  causes,  greatly  delighted 
in  gathering  around  him  the  most  famous  painters  of 
his  time.  To  this  monarch  Englishmen  must  ever  be 
grateful  for  the  introduction  of  Hans  Holbein  to  Eng- 
land, and  the  life-work  of  Holbein  is  the  best  historical 
essay  in  pictured  presentments  of  all  the  eminent  men 
of  his  period  it  is  possible  to  imagine.  Succeeding 
monarchs,  like  the  unfortunate  King  Charles  I,  were 
not  sparing  of  their  patronage  of  great  artists,  and  par- 
ticularly of  those  whose  craft  was  portraiture,  so  that,  as  a consequence,  the  history  of  our 
country  has  been  pretty  faithfully  brought  down  to  the  present  day.  Impressions  conveyed 
to  the  mind  through  the  medium  of  sight,  as  in  pictorial  representation,  are  more  powerful 
than  words,  either  written  or  spoken ; and  hence  it  may  be  that  a fine  portrait  of  Oliver 
Cromwell,  Martin  Luther,  or  Drake,  the  great  discoverer,  at  once  arouses  familiar  associa- 
tions connected  with  those  remarkable  men, 
which  serve,  perhaps,  more  truly  the  purpose 
of  history  than  the  best  account  ever  written. 
Thus,  in  portraiture  we  may  have  presented 
to  the  mind  the  leading  events  of  history, 
such  as  the  overthrow  of  a great  monarchy 
or  the  discovery  of  a new  continent.  But  in 
the  late  exhibition  of  the  Royal  Academy 
there  were  few  historic  portraits ; our  great 
artists  are  content  with  simple  transcripts, 
usually  treated,  it  is  true,  with  originality  and 
power.  This  is  the  case  with  the  Academic- 
ians Millais,  Watts,  W.  W.  Ouless,  and  Frank 
Holl,  with  the  exception,  indeed,  that  the  last- 
Knighton  Warren.  named  master  exhibits  a noble  whole-length 


I 12 


English  Art  in  1884. 


\ 

) 


portrait  of  the  Prince  of  Wales  in  his  robes  as  Master  of  the  Bench  of  the  Honorable 
Society  of  the  Middle  Temple. 

Millais,  Watts,  Alma-Tadema,  Holl,  and  Herkomer  were  well  represented  at  the  Gros- 
venor  Gallery  in  portraiture,  but  Messrs.  James  Sant  and  Ouless  are  better  known  in  the 

Academy.  Mr.  James  Sant,  R.  A.,  who  is  portrait-painter  in 
ordinary  to  her  Majesty  the  Queen,  is,  like  his  younger  brother 
Academician,  Mr.  W.  W.  Ouless,  in  taste,  feeling,  and  artistic 
training,  essentially  a portrait-painter.  This  is  not  altogether  the 
case  with  Millais,  Holl,  and  Watts,  whose  adoption  of  this 
branch  of  art  is  comparatively  recent,  their  reputations  having 
been  made  in  historical,  idealistic,  and  other  subjects  of  a very 
different  class.  Mr.  Sant  has  to  a great  extent  monopolized  the 
field  of  female  portraiture,  his  great  compeers,  Messrs.  Ouless 
and  Holl,  rarely  venturing  upon  other  than  male  likenesses.  In 
our  engraving  of  Mr.  Sant’s  picture  of  “Mrs.  William  Hunt- 
ingdon and  Child ” the  special  facility  the  artist  has  in  at  once 
perceiving  and  seizing  upon  the  more  graceful  traits  of  female 
character,  whether  in  childhood  or  in  those  of  more  mature 
years,  will  readily  be  observed.  The  natural  ease  and  refinement 
of  this  group  are  characteristic  of  all  the  master’s  work  of  this 


Mrs.  John  Collier. 


YOU  A CHRISTIAN 
James  Archer. 


The  Royal  Academy. 


1 r3 


class.  There  are  younger  painters  rising  up,  such  as  Mr.  John  Collier  and  Mr.  Wirgman, 
on  whom  the  mantle  may  one  day  fall ; but  at  the  present  moment  the  truth  remains  that 
portrait-painters  of  ladies  in  England  are  few  and  far  between. 


64  X 48. 


No.  750.  “ Watching  the  Effect."  S.  Sijjley, 


No.  453,  “ Miss  Hat'dcastle ,”  is,  if  a little  conventional  in  treatment,  a capital  character 
study.  Rudolph  Lehmann,  to  whose  powerful  pencil  we  are  indebted  for  some  excellent 
portraits,  has  also  in  the  galleries  at  Burlington  House  a life-like  presentment  of  the 
eminent  surgeon,  Sir  Spencer  Wells,  the  President  of  the  College  of  Surgeons  in  Lon- 
don. 

Mr.  Warren’s  portrait  of  “ The  late  Duke  of  Buccleuch  ” pictures  the  duke,  seated  at  full 
length  in  his  library,  in  a (with  him)  characteristic  and  easy  attitude.  In  preserving  the  like- 


15 


1 14- 


English  Art  in  1884.. 


No.  136.  “ Daughters  of  Colin  Makins,  M.  P.” 

John  Collier. 


28  X 56. 

No.  1564.  “ Geoff,  Polly , Dolly , and  Toto." 


Frederick  Barnard. 


ness  and  Scotch  type  of  face,  the  artist  also  has  not  forgotten  the  expression  of  thoughtful 
intelligence  which  characterized  the  original. 

No.  139,  “ Never  mind by  Frederick  Morgan,  presents  to  us  an  image  of  childish  inno- 
cence and  beauty.  One  little  tot,  of  but  some  five  summers,  has  broken  the  toy  she  holds 
upon  her  lap,  and  her  sister,  of  but  very  few  years  older,  is  playing  the  part  of  the  good 
Samaritan  as  she  caressingly  whispers  words  of  comfort  to  the  little  mourner.  What  grace 
there  is  in  childhood,  and  charm  in  sympathy,  the  artist  has  here  certainly  found  and 
expressed. 

No.  592,  “ Miss  Nettie  Huxley ” by  Mrs.  John  Collier,  is  a picture  of  a young  lady 

standing  facing  the  spectator.  The  artist,  Mrs.  Collier, 
is  wife  of  Mr.  John  Collier,  the  well-known  portrait- 
painter,  who  exhibits  no  less  than  four  works  in  the 
present  exhibition. 

In  No.  750,  “ Watching  the  Effect ” the  artist,  S. 
Sidley,  gives  a fancy  title  to  what  is  evidently  a portrait. 
A little  girl  in  dark  dress  has  planted  herself  upon  a 
garden-seat,  and  there,  with  a dish  of  soap-suds  and 
tobacco-pipe,  is  amusing  herself  blowing  bubbles.  She 
is  not  alone  in  her  amusement,  for  her  pet,  a quaint 
little  kitten,  watches  her  young  mistress’s  experiments 
with  infinite  curiosity  and  interest. 

No.  136,  May,  Agatha,  Veronica,  and  Audrey, 


No.  483.  “ Miss  Fortescue.” 

Weedon  Grossmith. 


The  Royal  Academy. 


“5 


“ Daughters  of  Colin  Makins,  M.  P.”  by  John  Collier,  is  an  original  group  in  spring  cos- 
tumes, with  almond-blossoms  and  daffodils,  primroses  and  wild  flowers,  on  a polished  floor ; 
and  No.  1564,  “Geoff,  Folly , Dolly,  and  Toto ,”  by  Frederick  Barnard,  is  a pretty  group  of 
children,  a boy  and  his  two  sisters  with  their  favorite  dog. 

No.  483,  “ Miss  Fortescue”  by  Weedon  Grossmith,  is  a head  study  of  the  popular  and 
pretty  actress  about  whom  there  has  recently  been  so  much  said  with  reference  to  an  action 
for  breach  of  promise. 


No.  351.  “ Rebellion  on  the  Throne .”  F.  G.  Cotman. 


No.  351,  “ Rebellion  on  the  Throne ,”  by  Frederick  G.  Cotman.  The  title  here  is  but  a 
play  upon  words ; the  throne  in  question  merely  being  the  raised  platform  upon  which  a 
portrait-painter  places  his  sitter.  The  child,  who  serves  as  a model,  is  a pretty  little  girl, 


n6 


English  Art  in  1884. 


whose  waywardness  is  apparent,  for  around  her  are  a 
guitar  and  other  objects  which  have  evidently  been 
employed  in  the  hopeless  task  of  making  her  sitting 
for  her  portrait  a less  distasteful  proceeding.  With 
one  shoe  kicked  off,  and  nursing  her  last  bribe  in  the 
shape  of  a peacock’s  feather,  she  has  now,  however, 
by  chance,  thrown  herself  into  the  very  posture  for  a 
successful  picture,  and  of  this  the  artist  has  not  hesi- 
tated to  avail  himself. 

Another  picture,  which  may  properly  be  described 
as  of  portrait  class,  is  No.  655,  "Melody,”  by  G.  II. 
Barrable,  a young  lady  performing  on  the  violin,  an 
instrument  that  only  a recent  fashion  has  deemed 
suitable  for  those  of  her  sex.  The  instrument,  how- 
ever, admits  of  graceful  posture  in  the  performer,  and 
is,  perhaps,  second  to  none  when  skillfully  played  upon. 

No.  912,  “ Philip  Henry  Gossc , Jr.”  by  Miss  E.  M.  Osborn,  is  a whole-length  portrait 


E.  M.  Osborn. 


Hugh  Carter. 


The  Royal  Academy. 


IT7 


of  a pretty  little  boy  of  some  seven  or  eight  summers  ; there  is  childish  grace  about  the 
figure,  and  much  innocent  character  in  the  bright,  young  face. 

With  the  mention  of  No.  868,  “ The  Burgomasters  Daughter ,”  by  Hugh  Carter — a 
simple  but  extremely  agreeable  study  of  a young  lady  busy  plying  needle  and  thread  — we 
will  for  the  present  return  to  other  pictures. 


No.  797,  “ Students  at  the  British  Museum ,”  by  T.  Peckitt.  Those  studying  art  at  the 
museum  are,  so  to  speak,  free  lances  as  compared  with  those  working  upon  an  organized 
system  and  under  competent  instruction  at  the  Royal  Academy,  to  which  we  shall  immedi- 
ately refer.  But  students  not  unfrequently  make  their  work  at  the  museum  serve  as  a step- 
ping-stone by  which  to  obtain  admission  to  the  schools  of  the  Academy ; and  it  is  needless 
to  say  that  they  at  any  rate  have  splendid  models  to  copy  from  in  the  various  antique 


1 18 


English  Art  in  1884. 


busts,  original  statues,  and  other  art  treasures  like  the  Elgin  marbles.  Mr.  Peckitt’s  picture 
is  at  least  illustrative,  and  gives  a fair  idea,  both  of  the  more  isolated  manner  of  work  of 
the  students,  as  well  as  of  the  archaeological  and  other  objects  by  which  they  are  sur- 
rounded. 

No.  106,  “ The  Lifc-SchooZ ,”  by  Florence  Martin.  The  design  pictures  students  at  work 
drawing  and  painting  from  the  live  model,  and  the  subject  is  peculiarly  interesting,  if  only 
from  the  fact  that  it  illustrates  the  working  of  one  of  the  most  important  branches  of  free 

education  in  England.  One  of  the  leading  objects  of 
“the  Royal  Academy  of  Arts  in  London,”  founded  by 
George  III  in  1769,  as  we  learn  from  the  memorial  pre- 
sented to  the  king  asking  his  approval  of  such  an  acad- 
emy, was  “ the  establishment  of  a well-regulated  school  or 
Academy  of  Design  for  the  use  of  students  in  the  arts, 
while  it  was  hoped  that  the  funds  to  be  derived  from 
an  annual  exhibition  of  works  of  art  by  artists  of  merit 
would  be  sufficient  to  defray  the  expenses  of  the  scheme.” 
With  the  foundation  of  the  Royal  Academy  came  this 
all-important  art-instruction.  A “keeper”  was  appointed, 
who  was  also  a member  of  the  society,  and  to  him  was 
intrusted  the  general  conduct  and  superintendence  of  the 
schools,  while,  in  addition,  other  members  of  the  Academy 
were  annually  appointed,  who  were  called  “visitors,”  and 
who  were  more  directly  concerned  in  teaching  upon  the 
occasions  of  the  periodical  visits  they  made  to  the  schools. 
In  addition  to  this,  professors  were  appointed,  who  lec- 
tured annually  on  the  various  branches  of  art.  And  it  perhaps  may  not  be  out  of  place  to 
refer  here  incidentally  to  those  discourses  by  the  first  president,  Sir  Joshua  Reynolds,  which, 
whether  in  regard  to  diction  or  the  simple  but  noble  expression  of  thoughtful  ideas  upon 
art,  have  ever  since  been  regarded  as  a text-book,  aiding  the  uncertain  steps  of  the  young, 
while  they  have  added  to  the  knowledge  of  those  of  more  mature  years.  Such,  in  a few 
words,  were  the  general  principles  upon  which  the  scholastic  system  of  our  leading  art  was 
founded.  As  regards  the  details,  it  may,  perhaps,  hardly  be  necessary  to  say  more  here  than 
that  there  were  different  schools  — the  antique,  painting,  and  live-model  schools  — while  the 
system  by  which  admittance  was  obtained  in  the  first  instance  to  the  privilege  of  student- 
ship was  by  submission  of  a drawing  by  the  candidate,  which,  if  approved,  entitled  him  to 
entrance  as  a probationer,  when,  if  his  first  work  was  sustained  by  the  merit  of  others 


The  Royal  Academy. 


119 


executed  within  the  walls  of  the  Academy,  he  became  a full  student,  and,  according  to  the 
ability  he  displayed,  could  pass  on  to  the  higher  and  more  important  branches  of  study.  In 
addition  to  this,  rewards  in  the  shape  of  gold  and  silver  medals,  and  a “ traveling  student- 
ship,” enabling  the  successful  aspirant  to  study  art  abroad  for  a series  of  years,  gave  further 
substantial  encouragement  to  those  proving  themselves  worthy. 


21  X 17. 

No.  63.  “ Girl  reading."  Mrs.  A.  Schenck. 


Without  entering  upon  the  somewhat  disputed  point  as  to  whether  teaching  which  is 
not  paid  for  is  of  value,  we  may  add  that  the  whole  system  of  art-instruction,  undertaken 
by  the  Royal  Academy,  is  free  of  any  cost  or  charge  whatever. 

The  number  of  students  admitted  to  the  schools,  for  the  first  twelve  years  from  the  insti- 
tution of  the  Academy  in  1769,  was  three  hundred  and  eighty-four,  at  a cost  of  no  less  than 
£10,826  ijs.  6 d.  As  compared  with  this,  there  are,  at  the  present  time,  just  upon  four 
hundred  students,  while  the  cost  amounts  to  between  £5,000  and  £6,000  per  annum.  With- 


I 20 


English  Art  in  1884. 


out  attempting  to  specify,  we  may  here  mention  the  fact  generally,  that  some  of  our  most 
eminent  artists  followed  out  their  early  course  of  art-instruction  in  the  schools  of  the 
Academy. 

In  the  year  i860  the  great  principles  of  human  progress  and,  no  doubt,  the  influence  of 
public  opinion,  produced  a remarkable  event  in  the  history  of  the  Academy  schools,  and 
female  students  were  for  the  first  time  admitted. 

There  have  only  been  two  female  Royal  Academicians — Angelica  Kauffman  and  Mary 
Moser,  who  were  foundation  members.  There  is  a feeling  against  the  election  of  women 
as  members  of  the  Academy,  it  being  felt  that  in  a large  institution  of  this  character  many 
of  the  details,  such  as  the  arrangements  for  studying  from  the  nude  model,  and  some 
other  matters,  are  not  proper  for  the  other  sex.  There  is  a prejudice  that  women  art-stu- 
dents, like  female  doctors,  barristers,  and  the  deaconesses  whom  it  is  proposed  should  read 
the  lessons  in  church,  are  really  favored  with  more  of  the  masculine  mind  than  of  that 
tender  modesty  with  which  one  is  so  proud  to  associate  the  name  of  woman. 

Thinking  this  brief  sketch  of  the  art  educational  system  of  our  Royal  Academy  might 
prove  not  uninteresting,  we  will  now  return  to  the  subject  of  the  pictures. 


No.  457.  “St.  Peter  denying  Christ','  by  W.  Mouat  Loudan,  is  the  work  for  which  the 
young  artist  succeeded  in  obtaining  the  gold  medal  in  the  Academy  schools.  The  recreant 
disciple  who  could  so  readily  deny  all  knowledge  of  his  Lord,  sits  upon  a bench,  looking 
the  craven  coward  he  was  for  the  time  being,  while  his  accuser,  a young  girl,  utters  the 


The  Royal  Academy. 


121 


words  which  may  condemn  him.  The  group  is  skillfully  conceived,  and  the  picture  is  exe- 
cuted in  a low  key  of  color,  which  is  in  sympathy  with  the  tale  of  shame. 

No.  1282,  “A  Design  for  an  Academy  of  Arts,”  by  Edwin  George  Hardy.  The  artist 
is  another  of  the  successful  Academy  students,  he  having  succeeded  in  gaining  a gold  medal 


No.  1282.  “An  Academy  of  Arts."  Edwin  G.  Hardy. 
(Royal  Academy  Gold  Medal  and  Traveling  Studentship.) 


and  traveling  studentship.  He  is  among  the  class  of  architectural  students,  and  his  design 
is  really  one  of  very  considerable  merit  and  promise. 

We  hear,  with  much  satisfaction,  that,  in  the  additions  and  alterations  now  making  to 
the  premises  of  the  Royal  Academy,  extended  space  will  be  given  to  the  architectural  por- 
tion of  the  annual  exhibitions. 

A few  words  must  be  devoted  to  the  water-colors  in  the  Royal  Academy.  Aquarelle 
art  has  ever  been  popular  in  this  country,  for  the  labors  of  men  like  Turner,  Girtin,  David 
Cox,  Dewint,  and  William  Hunt,  have  served  to  establish  work  of  this  class  in  public 
estimation ; and,  at  the  present  time,  there  are  to  be  found  not  a few  connoisseurs  who 
restrict  their  collections  wholly  to  examples  of  water-color  art.  We  do  not  look  to  the 
Royal  Academy  Exhibition  or  the  Grosvenor  Gallery  for  the  best  specimens  of  the  art,  for, 


16 


122 


English  Art  in  1884. 


28  X 41. 

No.  1103.  “ After  Dinner."  ( Water-color .)  A.  M.  Rossi, 


as  a rule,  members  of  the  two  great  water-color  societies,  of  whom  we  shall  speak  presently, 
restrict  their  attention  to  the  periodical  shows  at  their  own  institutions,  with  the  result  that 
only  as  an  exception  are  the  finest  specimens  to  be  found  in  the  galleries  at  the  Academy. 


No.  936.  “ Scraping  an  Acquaintance."  A.  W,  Strutt, 


The  Royal  Academy. 


123 


Still,  the  visitor  to  the  water-color  room  at  Burlington  House  will  not  fail  to  consider  it 
rich  in  many  clever  drawings.  No.  1103,  “ After  Dinner by  A.  M.  Rossi,  is  a good 


No.  948.  “Gossip.”  J.  H.  Hilnshall. 


example — a drawing  brilliant  and  dashing  in  execution.  The  subject,  four  girls  seated  in 
the  corner  of  a drawing-room,  fairly  illustrates  a phase  of  English  society. 

No.  936,  “ Scraping  an  Acquaintance ,”  by  Alfred  W.  Strutt,  is  a stable-man  engaged  in 
grooming  a white  horse  at  a stable-door.  Forgiving  the  double  entendre  in  the  title  of  the 


124- 


English  Art  in  1884.. 


work,  this  is  a capital  study  of  both  the  animals  and  human  being.  The  noble  dog,  seated 
hard  by,  looks  placidly  content  that  his  time  for  the  cleansing  process,  to  which  the  horse 
submits  with  but  an  ill-grace,  has  not  arrived ; the  dog  appears  slightly  out  of  scale. 


10  x 8. 

No.  1156.  “ A Fair  Librarian."  Miss  Edith  Gourlie. 


No.  948,  “ Gossip ,”  bv  J.  Henry  Henshall,  pictures  a couple  of  good  dames  enjoying  to 
their  hearts’  content  a chat  by  the  way.  One  old  lady,  basket  on  her  arm,  is  on  her  way 
to  market,  and  the  other  is  returning  to  her  cottage  with  the  two  pails  of  water  she  has 
just  placed  upon  the  ground,  while,  with  hands  upon  her  hips,  she  relieves  her  mind  of 
burning  news. 

No.  1156,  “ A Fair  Librarian ,”  by  Edith  Gourlie,  is  a single-figure  study  of  a tall 


The  Royal  Academy 


125 


3(3  x 54. 


No.  85.  “ An  English  Home  — Twilight."  Herbert  Lyndon. 


126 


English  Art  in  1884 


36  X 54- 


No.  99.  “ An  Old  English  Inn.”  Herbert  A.  Olivier. 

(Royal  Academy  Creswick  Prize,  1883.) 


The  Royal  Academy . 


127 


extremely  tall — but  graceful  young  lady  standing  in  the  library,  reading  the  book  held  in 
one  hand,  while  the  other  rests  upon  a feather  brush.  An  arm-chair,  two  portfolios,  and 
some  library-steps,  complete  the  picture. 


No.  85,  “An  English  Home — Twilight ,”  by  Herbert  Lyndon.  A homestead  buried  in 
trees,  with  grassy  fields  and  river  seen  under  the  influence  of  a light  sky. 

No.  1014,  “ Near  Raby , Cheshire ,”  by  Matthew  Jarvis.  Flat  meadow  scenery,  with  pool 
of  water  and  trees. 


128 


English  Art  in  1884. 


In  No.  1155,  "Old  Inn  and  Buildings  at  Hemel  Hempstead by  W.  J.  Montaigne,  the 
old  roofs,  the  barn,  the  quaint-looking  chimneys,  and  the  peep  of  the  village  church,  together 
form  a study  which  is  not  without  a certain  picturesque  charm  suggestive  of  the  quiet  of 
of  many  a country  town  near  London.  But  for  a real  old  English  inn  of  olden  time,  with 
carved  exterior  timbers,  such  as  exist  in  Norfolk  and  Suffolk  and  near  the  old  seaports  of 
England,  we  must  look  next  at  No.  99,  Mr.  H.  A.  Olivier’s  drawing. 

The  motive  of  the  design  is  one  of  those  large,  roomy,  wayside  inns,  now  rarely  to  be 
met  with.  As  far  as  the  idea  of  space  gives  comfort,  these  curious  buildings  were  a success, 
but  modern  progress  and  the  requirements  of  a more  advanced  civilization  have  tended  to 
sweep  away  such  old  landmarks,  their  place  being  now  gradually  supplied  by  edifices  more 
compact,  convenient,  and  at  the  same  time  more  sightly  as  regards  the  architecture.  In  this 
constantly  recurring  change  the  artist  suffers  as  far  as  the  picturesqueness  of  his  subject  is 
concerned  ; for,  pictorially  considered,  the  old  stage-coach  is  but  ill  superseded  by  the  loco- 
motive or  the  tram-car ; the  ironclad  is  a sorry  substitute  for  the  grand-looking,  old  three- 
decker  ; and  the  smart,  formal  street  rows  of  modern  London  call  forth  no  artist  enthusiasm 
as  do  the  curious  old  building  Mr.  Olivier  has  placed  before  us.  But  human  progress  must 
be  served,  and,  come  what  may,  we  must  move  forward.  Not  quite  so  early  in  the  history 
of  this  country  is  the  date  of  “ An  Old  Manor- House','  drawn  by  j.  Langham  (No.  1234), 
but  it  is  a further  illustration  of  our  remarks.  Many  of  the  noble  ancestral  halls,  of  which 
this  picture  is  a good  example,  exist  in  England  more  as  curiosities,  and  because  of  their 
antiquity  or  from  family  or  other  associations,  than  from  any  recognized  idea  of  comfort  or 
other  than  the  mere  beauty  of  appearance.  The  necessity  for  semi-castellated  buildings  for 
purposes  of  defense  has  passed  away,  so  that  such  edifices  under  a more  advanced  social 
system  remain  but  as  landmarks  of  a picturesque  age. 


It  may,  perhaps,  be  asserted,  without  much  fear  of  contradiction,  that  the  highest  kind 
of  representative  art  is  that  which  best  reproduces  human  form,  and  expresses  the  passions, 
sentiments,  and  mental  characteristics  of  man.  In  that  respect  sculpture  appears  to  stand 
pre-eminent,  for,  while  the  art  of  painting  has  wider  aims  and  more  extended  resources,  it 
lacks  the  simple  dignity  of  an  art  which  has  for  a leading  motive  the  expression  of  perfect 
form,  without  the  adventitious  aid  of  coloring  or  other  appeals  to  the  senses.  If,  therefore, 
we  may  take  the  advance  made  in  this,  the  highest  of  all  arts,  as  in  some  sort  an  indication 
of  progress  in  the  people,  it  will  have  been  noticed  with  satisfaction  that  the  collection  of 
sculpture  this  year  at  the  Academy  is  better  than  in  many  previous  seasons. 


' ^ 


WAIFS. 

T.  B.  Kennington. 


iSlsSfc. .. 


The  Royal  Academy. 


129 


Among  the  works  of  the  elder  members  of  the  Royal  Academy  we  should  mention  first 
No.  1688,  “Egypt"  by  H.  H.  Armstead,  R.  A. ; a graceful,  idealized  female  figure  — statu- 
ette— typifying  that  ancient  and  remarkable  country  to  which  now  for  some  time  past  the 
attention  of  European  statesmen  and  financiers  has  been  so  strongly  directed. 


No.  1700,  “ The  Water-Lily ,”  by  T.  Woolner,  R.  A.,  represents  a bathing  nymph,  who, 
before  she  entirely  throws  off  her  drapery,  toys  with  her  foot  among  the  water-lilies,  balanc- 
ing her  body  in  a position  of  ease,  as  she  rests  her  weight  upon  her  right  hip.  This,  which 
is  Mr.  Woolner’s  only  contribution,  is  a high-relief  in  bronze. 

One  of  the  most  prominent  and  noteworthy  works  was  No.  1856,  “ The  Mower ,”  by 
Hamo  Thornycroft,  A.  R.  A.,  a comparatively  young  sculptor.  A young  hay-maker,  wearing 
his  straw  hat,  the  upper  part  of  his  body  bare,  carries  his  shirt  upon  his  arm,  and  with  his 
scythe  leisurely  returns  from  his  day’s  labors.  The  idea  suggested  is  one  of  repose,  this 
rustic  figure  being  a fine  example  of  Mr.  Thornycroft’s  powers  of  modeling.  There  are  two 
or  three  fine  views  of  this  statue  of  “ The  Mower'.' 

Mr.  Thomas  Brock,  one  of  the  newly  elected  Associates,  sent  a model  of  the  marble  bust 
of  Longfellow  in  Westminster  Abbey,  and  Mr.  C.  B.  Birch  the  large  statue  of  “ Lady 
Godiva"  (see  page  133).  Mr.  Birch  established  for  himself  a reputation  when  he  produced 


17 


T3° 


English  Art  in  1884. 


the  colossal  statues  of  Lieutenant  Hamilton,  killed  in  the  Indian  massacre,  and  “ The  Last 
Call”  a bugler  and  his  charger  killed  by  the  same  shot ; and  this  he  has  followed  with  his 
present  masterly  group  of  “Lady  Gocliva  ” and  her  steed,  No.  1823.  The  work,  being  tentative 


No.  1856.  “ The  Mower.”  Hamo  Thornycroft,  A.  R.  A. 

“ A mower,  who,  as  the  tiny  swell  of  our  boat  passing  heaved  the  river  grass, 

Stood  with  suspended  scythe  to  see  us  pass.” — Matthew  Arnold,  Thyrsis. 

in  character,  is  at  present  produced  only  in  imitation  bronze,  but  it  is  to  be  hoped  the  sculp- 
tor will  be  asked  to  execute  it  in  the  genuine  metal,  and  that  it  may  become  national 
property.  Mr.  Birch  has  represented  the  beautiful  spouse  of  rough  Earl  Leofric  standing 


The  Royal  Academy. 


I3I 


beside  her  horse — a noble-looking  animal.  The  pretty  legend  upon  which  the  subject  is 
founded  may  or  may  not  be  true,  but  certainly  Mr.  Birch’s  realization  of  the  story  could 
hardly  be  better ; the  figure  of  the  self-sacrificing  wife  of  the  lord  of  Coventry  being  a 
most  graceful  conception,  and  the  face  particularly  pure  and  lovely. 


Z ife-si;e. 


No.  1823.  “ Lady  Godiva."  C.  B.  Birch,  A.  R.  A. 

“ . . . Anon  she  shook  her  head, 

And  showered  the  rippled  ringlets  to  her  knee  ; 
Unclad  herself  in  haste  ; adown  the  stair 
Stole  on  ; and,  like  a creeping  sunbeam,  slid 
From  pillar  unto  pillar,  until  she  reached 
The  gateway ; there  she  found  her  palfrey  trapped 
In  purple,  blazoned  with  armorial  gold.’’ 


No.  1680,  “ Linus, " the  personification  of  a dirge  of  lamentation,  by  E.  Onslow  Ford. 
The  whole-length  figure  of  this  classic  poet  is  here  represented  with  right  hand  raised,  while 
in  the  other  he  holds  a torch  thrust  downward  toward  the  ground.  He  is  advancing  with 
slow  and  solemn  steps,  repeating  as  he  goes  his  words  of  grief  and  sorrow.  It  will  be 
noticed  in  the  reproduction  how  excellent  is  the  swing  of  the  figure  and  learned  the  mod- 
eling. 


x32 


English  Art  in  1884. 


In  No.  1684,  “ Ruth  and  Naomi”  the  sculptor,  J.  Warrington  Wood,  seeks  to  realize  in 
marble  that  most  pathetic  incident  in  which  the  widowed  daughter-in-law  elects  to  return 


with  Naomi  to  her  native  place.  Naomi  has  lost  her  husband  Elimelech  and  both  her  sons, 
and  now,  bankrupt  in  everything  save  the  love  of  one  of  her  son’s  widows,  she  seeks  to 


The  Royal  Academy . 


J33 


turn  her  weary  and  aged  footsteps  toward  Bethlehem,  whence  she 
came.  But  Ruth’s  strong  love  will  not  be  denied,  and  she  sums 
up  her  determination  when  she  employed  that  memorable  phrase : 

“ Entreat  me  not  to  leave  thee,  or  to  return  from  following  after  thee.” 

The  girl  stands  with  her  arms  clasped  lovingly  round  the  aged 
woman’s  form,  as  she  gives  utterance  to  her  tender  appeal. 

No.  1809,  “ A ve,  C cesar  ! morituri  te  salutant ,”  by  George  A. 
Lawson.  This  is  one  of  the  more  important  statues,  a Retiarius 
who  is  standing  with  his  head  raised  and  thrown  backward,  while 
he  holds  aloft  his  trident  in  one  hand,  in  the  other  being  gathered 
the  folds  of  his  net.  The  figure  is  well  balanced  and  good  in  line, 
the  muscularity  being  of  the  order  which  suggests  proportion  with- 
out coarseness. 

In  the  bronze  statuette,  No.  1746,  “Hercules"  by  G.  Natorp, 
the  celebrated  hero  and  son  of  Jupiter  is  seen  resting  upon  the  brass  club  given  him  by 
Vulcan.  The  following  lines  suggest  the  motive  of  the  design  : 


No.  1684.  “ Ruth  and 

Naomi.” 

J.  Warrington  Wood. 


“ Leaning  dejected  on  his  club  of  conquest, 
As  if  he  knew  the  worthlessness  of  those 
For  whom  he  had  fought.” 


No.  1809.  “ Ave,  Ccesar  ! morituri  te 

G A.  Lawson. 


No.  1746.  “Hercules.” 
G.  Natorp. 


salutant.” 


J34 


English  Art  in  1884. 


No.  1682,  “ Bless  me , even  me  also , O my  Fat  her  l'  by  E.  Roscoe  Mullins.  The  group 
here  represented  is  very  expressive.  Esau,  just  returned  from  hunting,  and  robbed  of  his 
birthright  by  the  deceit  practiced  upon  his  father  by  Jacob,  has  approached  his  aged  and 


No.  1682.  “ Bless  me,  even  me  also,  O my  Father .”  E.  R.  Mullins. 


well-nigh  sightless  father,  asking  for  the  blessing  he  has  a right  to  expect.  But  he  has  been 
forestalled,  and,  by  words  which  can  not  be  recalled,  he  has  been  given  as  a servant  to  his 
brother,  upon  whom  also  the  richness  of  his  father’s  blessing  has  fallen.  Finding  this  to  be 
the  case,  he  cries  to  his  father,  with  a loud  and  bitter  cry,  also  for  a blessing.  The  parent, 


while  acknowledging  the  injustice  of  which  by  deceit  he  has  been  made  guilty,  endeavors 
to  supplement  his  former  words,  which,  however,  he  can  not  withdraw.  The  subject  is  very 
finely  designed  and  rendered. 


The  Royal  Academy. 


r35 


No.  1776,  “A  Life-Size  Sketch  at  the  Zoo','  by  George  Simonds,  is  a noble  model  of  a 
lion  to  be  erected  at  Reading,  near  London,  as  a memorial  to  officers  and  men  of  the  Six- 
ty-sixth Berkshire  Regiment  who  fell  during  the  Afghan  campaign,  1879-80. 


No.  1739.  “ Kassasseen."  A.  M.  Chaplin. 

(Model  for  silver  cup.) 


No.  1739,  “ Kassasseen','  by  Alice  M.  Chaplin.  A spirited  model  of  a Guardsman  charg- 
ing at  the  full  speed  of  his  horse,  and  who,  as  he  charges,  is  engaged  cutting  down  his 
enemy. 

No.  1740,  “ A Study  of  Action','  by  Arthur  Clay.  A cow,  which  has  been  deprived  of 
her  calf,  is  wandering  in  distress.  A small  model,  excellent  in  motion  and  action. 


No.  1692.  “ Miss  Mary  Anderson.”  No.  1747-  “Fancy  Head.”  ( Terra-cotta .) 

A.  Bruce  Joy.  H.  S.  Montalba. 

No.  1692,  “Miss  Mary  Anderson','  by  A.  Bruce  Joy.  The  popular  and  beautiful  actress, 
whose  visit  to  England  has  been  very  like  a triumphal  procession,  has  here  certainly  been 
done  justice  to  by  the  sculptor.  It  exhibits  the  quiet  dignity,  self-possession,  and  singular 


136 


English  Art  in  1884. 


sweetness  of  expression  that  are  characteristics  of  the  face  of  the  fair  original,  without  any 
evidence  of  the  self-consciousness  which  is  too  often  present  with  such  gifts. 

A full-length  portrait  of  “ The  late  Lord  Frederick  Cavendish ,”  No.  1678,  also  by  the 
same  sculptor,  recalls  the  face  and  form  of  the  unfortunate  nobleman  whose  tragical  fate 


No.  1678.  “ The  late  Lord  Frederick  Cavendish."  A.  Bruce  Jov. 

(Model  of  the  statue  to  be  erected  at  Barrow-in-Furness.) 


will  remain  indelibly  fixed  in  the  memory  in  this  country.  Lord  Cavendish  has  his  right 
foot  advanced,  and  holds  his  left  hand  upon  his  hip  in  a manner  not  unusual  with  him. 

No.  1731,  “Regret”  by  Frank  Baden-Powell.  A female  head  expressive  of  sorrow.  The 
sculptor  in  this  beautiful  work  ventures  not  unsuccessfully  upon  delineating  a class  of  men- 
tal emotion  which  does  not  always  tell  its  exact  story  in  the  human  face.  Direct  physical 
pain,  as  in  “ The.  Dying  Gladiator ,”  or  in  the  priest  of  the  “ Laocoon”  group,  is  more  readily 
reproduced  than  are  the  negative  emotions  of  our  nature.  But  Mr.  Baden-Powell  has  fear- 


The  Royal  Academy . 


*37 


lessly  ventured  into  this  more  subtile  and  difficult  region  of  art,  and  he  may  be  congratu- 
lated upon  the  result.  Almost  the  last  of  the  sculptors  to  whom  we  can  draw  attention  this 
year  is  Miss  H.  S.  Montalba,  one  of  a very  gifted  family,  no  less  than  live  members  of 
which  contributed  to  the  present  exhibition.  Miss  H.  S.  Montalba,  the  sculptor,  is  seen  to 
advantage  in  No.  1747,  the  pretty  study  in  terra-cotta  of  a child.  With  little  more  scope 
in  such  a subject  than  is  afforded  by  an  ordinary  portrait-bust,  Miss  Montalba  has  managed 


to  invest  the  face  with  a character  of  childish  beauty  that  is  peculiarly  charming.  It  is  not 
often  that  the  artistic  faculty  is  apparent  in  so  many  members  of  a family  as  it  is  in  that 
of  the  Montalbas.  The  spontaneous  character  and  grace  of  style  of  this  lady’s  work  are 
very  closely  allied  to  genius. 

We  select  from  the  portrait-busts  (not,  as  a rule,  a very  interesting  department  of  any 
exhibition)  the  presentment  of  one  whose  name  and  features  are  very  familiar  in  London  ; 
one  whose  interest  in  all  art  matters,  and  especially  in  international  exhibitions,  is  well 
18 


English  Art  in  1884. 


138 


known.  “Sir  Philip  Cunliffe  Owen , K.C.M.G. , etc.?  the  head  of  the  South  Kensington 
Museum,  is  a skilled  administrator.  He  is  especially  interested  in  the  dissemination  of  the 
knowledge  of  English  art  in  America  at  the  present  time;  and,  it  is  well  known,  is  now 
organizing  an  exhibition  of  American  productions  at  South  Kensington  for  1886.  The 
young  sculptor,  Mr.  R.  A.  Led  ward,  has  accomplished  a successful  work,  and  has  been 
especially  fortunate  in  his  subject 


Life-size. 

No.  I77°-  “ Sir  Philip  Cunliffe  Owen,  K.C.M.G.,  etc.”  (Bust,  terra-cotta.)  R.  A.  Ledward. 


THE  GROSVENOR  GALLERY. 


The  first  exhibition  of  the  Grosvenor  Gallery  was  held  on  the  ist  of  May,  1877,  and 
contained  two  hundred  and  nine  works  by  living  artists,  the  prominent  exhibitor  being  Mr. 
E.  Burne-Jones,  who  sent  the  six  beautiful  decorative  panels  entitled  “ The  Days  of  Crea- 
tion,”  now  in  possession  of  Mr.  W.  Graham  ; 
also  “ Venus's  Mirror  ” and  “ The  Beguiling 
of  Merlin. ” In  that  year,  also,  Mr.  G.  F. 
Watts,  R.  A.,  sent  his  well-known  picture  of 
“ Love  and  Death”  and  other  prominent  ex- 
hibitors were  Sir  Francis  Grant,  Sir  Fred- 
erick Leighton,  J.  G.  Millais,  L.  Alma-Tade- 
ma, Holman  Hunt,  W.  B.  Richmond,  R. 
Spencer  Stanhope,  Walter  Crane,  J.  M. 
Whistler,  Professor  Legros,  and  Richard 
Doyle. 

Since  that  time  there  have  been  seven 
summer  exhibitions,  in  which  the  predomi- 
nant note  has  been  a style  of  art  in  which 
the  works  of  the  Italian  masters  had  more 
influence  than  Wilkie  or  Gainsborough. 

The  exhibition  of  1884,  although  more 
miscellaneous  in  character  than  formerly,  and 
containing  some  of  the  finest  portraits  of  the 
year,  is  still  presided  over,  so  to  speak,  by 
the  work  of  Mr.  Burne-Jones.  Never  since 
the  exhibition  of  “ The  Wheel  of  Fortune ,” 
of  “ The  Days  of  Creation ,”  and  of  “ The  Four  Seasons  ,”  has  so  great  an  impression  been 
made  in  the  artistic  world  by  any  painting  as  by  “ King  Cophetua  and  the  Beggar-Maid ,” 


No.  8. 


29  X 21. 

“ Portrait  of  Signor  G.  B.  Amendola .” 
L.  Alma-Tadema,  R.  A. 


14° 


English  Art  in  1884. 


which  hung  in  the  place  of  honor  in  the  large  gallery.  It  may  give  the  best  idea  of  this 
picture  and  of  the  estimation  in  which  it  was  held  to  give  an  extract  from  a criticism 
which  appeared  in  the  London  “ Times  ” on  the  day  of  the  opening  of  the  gallery : 

“We  are  only  echoing  the  opinion  which  is  all  but  universal  among  those,  whether 

artists  or  not,  who  have  seen  the  picture,  when  we  say  that  ‘ King  Cophetua  and  the  Beg- 
gar-Maid’ is  not  only  the  finest  work  that  Mr.  Burne-Jones  has  ever  painted,  but  that  it 
is  one  of  the  finest  pictures  ever  painted  by  an  Englishman.  On  an  upright  canvas,  some 
nine  feet  high,  the  artist  has  represented  two  principal  and  two  secondary  figures — the  king, 
the  beggar-bride,  and  two  chorister-boys  who  are  making  music  in  the  gallery  above.  The 
groundwork  of  the  picture  consists  of  a curious  throne,  forming  a kind  of  alcove  in  the 
palace,  with  steps  and  seats  and  columns  in  shining,  beaten  brass.  The  maiden  is  seated  on 

the  purple  cushion,  and  on  the  step  at  her  feet  is  the  king,  the  jeweled  iron  crown  in  his 

hands,  and  his  face  fixed  on  hers  with  an  expression  of  adoring  love  and  wonder.  She  sits 
half-dismayed  and  half-content,  shrinking  from  the  greatness  of  this  new  and  unknown  for- 
tune, yet  ready  to  face  it,  as  some  saint  might  face  the  Beatific  Vision,  in  the  strength  of 
her  maiden  purity.  She  is  thin,  as  one  should  be  who  has  fared  poorly  all  her  days;  her 
shoulders  and  arms  are  somewhat  drawn  ; even  her  beautiful  face  is  a little  wan  with  fasting. 
She  wears  a single  garment  of  some  gray,  felt-like  substance,  falling  close  over  her  knees, 
and  bound  chastely  across  her  breast  and  shoulders.  Her  feet  are  timorously  drawn  under 
her;  with  her  hands  she  presses  for  support  upon  the  throne.  Cophetua  sits  below,  glorious 
and  radiant  in  all  the  colors  that  king  may  wear  or  painter  imagine,  in  steel  armor,  plate, 
and  chain,  with  robe  of  many  tints  thrown  over  him ; the  crown  which  he  holds  is  resplen- 
dent with  jewels,  and  the  brass  at  his  feet  and  all  around  him  is  bright  and  gleaming.  His 
form  and  the  expression  of  his  face  are  singularly  noble  ; he  is,  in  fact,  every  inch  a man, 
a true  king  and  knight,  before  whose  arm  and  lance  many  an  enemy  has  gone  down.” 

The  artist  has  gone  for  his  theme  to  an  old  legend  of  no  very  wide  notoriety  till  Ten- 
nyson brought  it  back  to  the  knowledge  of  mankind,  and  thus  far,  perhaps,  it  must  be 

admitted,  he  has  chosen  less  worthily  than  when  he  painted  his  allegory  of  “ The  Wheel  of 
Fortune ” or  his  “ Days  of  Creation .”  Yet,  on  the  other  hand,  it  is  a story  which  almost 
explains  itself,  and  even  those  who  never  heard  of  King  Cophetua  will  understand  that  the 
picture  marks  a phase  of  the  never-ending  history  of  beauty  triumphing  over  strength. 

The  great  interest  attaching  to  this  picture,  apart  from  its  general  design  and  rich 
qualities  of  color,  is  in  the  principal  figure.  “Mr.  Burne-Jones  has  been  commonly  charged 
with  ‘ inability  to  paint  a hero,’  but  Cophetua  is  a hero,”  says  the  “ Times  ” ; and,  as  to  his 

beggar-bride,  “ seldom  has  the  lovely  type,  of  which  this  painter  has  given  us  so  many 

examples,  been  rendered  with  so  much  tenderness,  dignity,  and  beauty  as  here.”  From  the 


The  Grosvenor  Gallery. 


H1 


last  sentence  we  may  gather  the  fact  that  the  beggar-maid  is  painted  in  Mr.  Burne-Jones’s 
well-known  manner,  and  those  who  have  seen  his  idealized  pictures  of  women  in  England 
(or  in  America,  where  there  are  several),  and  know  his  color,  will  get  very  closely  to  the 
type ; but  his  King  Cophetua  is  altogether  a new  departure,  more  vigorous  and  original 
than  anything  yet  seen  from  his  hand. 

Other  critics  contended  that,  great  as  is  the  picture,  “ the  stickler  for  archaeological 
accuracy  may  question  the  architecture  and  ornaments,  the  dress  of  the  two  pages  in  the 
gallery,  and  the  armor  of  the  king ; and  contend  that  these  are  hardly  in  accordance  one 
with  the  other.”  But  opinions  coincided  that  “ on  the  sentiment  of  the  story  he  had  the 
firmest  grasp.”  “The  monarch,”  one  writes,  “is  undeniably  enamored  of  the  maiden  in  his 
presence,  and  hers  is  just  as  surely,  as  Tennyson  puts  it,  ‘ a lovesome  mien,’  and  her  wan 
beauty  and  delicate,  fanciful  grace  pierce  through  her  poor  attire 

‘As  shines  the  moon  in  clouded  skies.’” 

At  this  point  the  feebleness  of  mere  words  to  describe  any  picture  is  so  manifest  that 
in  spite  of  the  natural  wish  of  the  painter  that  no  engraving  should  be  made  of  a picture 
depending  so  much  upon  color  and  the  artist’s  own  handling  for  its  ex- 
pression, we  insert  a memory-note,  or  map  of  the  principal  lines.  With 
this  key  to  the  composition,  and  the  statement  that  the  canvas  is  nine 
feet  eight  inches  by  four  feet  five,  we  must  pass  on  to  pictures  by  other 
artists,  not  omitting  to  mention  that  a very  decorative  and  harmonious 
study  in  green,  entitled  “ A Wood-Nymph ,”  a single  figure  in  green  dress 
in  the  branches  of  a tree,  also  hung  in  the  large  gallery,  by  E.  Burne- 
J ones. 

Among  the  followers  of  Mr.  Burne-Jones,  or  at  least  those  who  work 
in  a similar  spirit,  we  should  mention  Sir  Coutts  Lindsay,  Mr.  R.  Spencer 
Stanhope,  Mr.  J.  M.  Strudwick,  Miss  Pickering,  and  Mr.  Walter  Crane.  Mr.  Stanhope’s 
picture  of  “ Patience  on  a Monument  ” is  a labored  work,  marked  by  considerable  knowledge 
and  refinement  ; the  draperies  are  red  and  blue,  dark  brown  and  green,  almost  as  simple  in 

scheme  of  color  as  an  early  Venetian  fresco.  In  the  distance  there  is  an  old-fashioned 

garden  with  statues,  which  are  not  seen  in  the  sketch. 

Mr.  Walter  Crane,  whose  decorative  work  is  well  known  both  in  England  and  America, 
is  a poet  as  well  as  a painter.  “ The  Bi'idge  of  Life ” is  a picture  teeming  with  incident 

and  suggestion.  So  complete  is  it  as  a poem  of  life,  “ from  the  cradle  to  the  grave,”  that 

we  have  thought  it  better  to  print  the  artist’s  own  description  of  his  work.  Few  painters 
in  these  days  bestow  more  thought  or  invention  on  their  subjects  than  Mr.  Walter  Crane: 


14-2 


English  Art  in  1884 


“ What  is  life  ? A bridge  that  ever 
Bears  a throng  across  a river  ; 

There  the  Taker,  here  the  Giver. 

“ What  is  life  ? In  its  beginning, 

From  the  staff  see  Clotho  spinning 
Golden  thread  and  worth  the  winning. 


49  x 43- 

No.  21 1.  “ Patience  on  a Monument,  smiling  at  Grief."  R.  Spencer  Stanhope. 

“ Like  patience  on  a monument, 

Smiling  at  grief.” — Twelfth  Night. 

“ Life  with  life,  fate-woven  ever, 

Life  the  web  and  love  the  weaver, 

Atropos  at  last  doth  sever. 

“ What  is  life  to  grief  complaining  ? 

Fortune,  Fame,  and  Love  disdaining, 

Hope,  perchance,  alone  remaining. 


The  Grosvenor  Gallery. 


H3 


“ This  design  is  figurative  of  human  life  in  its  various  phases  from  the  cradle  to  the 
grave.  Life,  in  the  collective  sense — life  in  continuity — is  expressed,  firstly,  by  the  marble 
bridge  spanning  the  stream  of  time,  veined  and  shot  with  various  dyes  and  stains ; viewed 
as  a compact  and  interdependent  whole,  rising  to  its  key-stone,  with  its  stairs  and  stages, 
from  the  water’s  edge,  where  its  foundings  are  hidden.  Next  life,  as  in  its  individual  sense 
— the  course  of  humanity— may  be  traced.  Here  the  young  mother  receives  her  first-born 
from  the  arm  of  the  Genius  of  Life.  The  father,  with  one  foot  raised,  as  if  about  to  ascend 
the  stair,  and  bearing  the  water-jar,  the  loaves  and  fishes — figuring  the  means  for  the  sup- 


38  X 60. 

No.  206.  “ The  Bridge  of  Life."  Walter  Crane. 


port  of  life — turns  to  look  at  his  child.  Upon  the  steps  a mother  suckles  her  child,  and 
above  is  teaching  the  infant  to  walk.  As  a boy  he  is  taught  by  an  old  man  from  a scroll. 
Beyond  rises  the  figure  of  Clotho,  spinning — the  Fate  presiding  over  the  beginnings  of 
life,  as  living  and  human,  but  standing  apart  as  a statue,  a passionless  but  half-pitying  spec- 
tator. Below  her  a girl  and  boy  are  playing,  the  boy  blowing  bubbles,  which  rise  in  the 
air  and  are  lost.  Next  come  a pair  of  lovers,  or  a bride  and  bridegroom,  as  she  is  crowned 
with  myrtle ; on  the  next  step  above,  the  little  god  Love,  held  aloft  on  the  shoulder  of  one 
of  the  Graces,  showers  roses  upon  them.  A satyr,  or  we  may  call  him  Pan — as  representing 
the  animal  impulses — holding  his  pipes,  clings  to  the  man  in  his  prime,  who  stands  above 
the  key-stone  of  the  bridge,  half  turning,  with  a cup  of  glass  in  his  hand,  which  the  nymphs 


H4 


English  Art  in  1884 


of  Venus  fill  with  wine,  or  make  fragrant  with  roses.  Behind  him  a winged  genius — Fame, 
or  Ambition — holds  a wreath  above  his  head  and  blows  a trumpet ; which  things  indicate 


24  x 36. 

No.  38.  “ Aphrodite .”  Philip  H.  Calderon. 

“Fresh  as  the  foam.” 


that  in  life’s  prime,  when  ‘all  thoughts,  all  passions,  all  delights’  are  in  full  stream,  man  is 
stimulated  by  ambition  to  win  other  prizes,  and  reluctantly  turns  from  the  pleasures  of 


youth.  At  his  side  a woman  halts  and  pensively  gazes  downward,  seeing  the  corse  on  the 
boat  passing  beneath  the  bridge,  like  those  who,  in  life’s  mid-career,  are  crossed  by  the 


AN  UGLY  CUSTOMER. 
J.  R.  Reid. 


The  Crowe  nor  Gallery. 


H5 


shadow  of  death.  In  front  of  her  a man  with  a 
winged  helmet  eagerly  presses  forward,  and,  grasping 
by  one  hand  the  empty  hand  of  Fortune,  stretches 
the  other  to  reach  the  bag  of  gold  she  holds  aloft, 
and  illustrates  the  well-known  dictum  concerning 
Dame  Fortune.  Another  aspirant  has  fallen  in  the 
pursuit,  and  vainly  stretches  his  hand  for  the  unat- 
tainable prize.  A companion  figure  of  Fortune  turns 
her  wheel ; and  lower  down  a woman  half  sadly  and 
regretfully  gazes  backward — a Lot’s  wife  sighing  for 
the  pleasures  left  behind  and  youth  gone  by — while 
her  companion  stoops  beneath  the  weight  of  a globe. 

Thus  doth  man  win  fame,  and  the  whole  world,  per- 
chance— he  exchanges  the  glittering  bubbles  and  dreams  of  his  youth  for  solid  earth,  or 
gold,  or  power,  and  has  to  bear  the  burden  of  it.  A woman  below  him,  with  bowed  head, 
figures  the  despair  of  life — the  shadow  of  success,  the  bane  of  wealth,  the  Nemesis  of  exist- 
ence. An  old  man,  leaning  on  his  staff  and  on  the  shoulder  of  a youth,  slowly  descends 
the  steps  of  the  bridge — age  that  knows  his  end  is  near,  but  is  able  calmly  to  meet  it — 
while  the  careless  youth  holds  life  like  an  apple  to  his  lips.  Behind  these  a figure  of 


20  X IO. 


20  X 

No.  07.  “ Once  more."  W.  E.  F.  Britten. 


38  x 27. 


No.  28.  “ The  Bath."  J.  R.  Weguelin. 


No.  24.  “Soft  Persuasion .”  W.  H.  Bartlett. 


146 


English  Art  in  1884. 


Lachesis  holds  up  a veil  she  has  woven — the  web  of  life,  wrought  with  the  memory  of 
nights  and  days,  with  thought  and  action,  with  grief  or  delight,  wherewith  all  life  is  clothed. 

“Lower  down  on  the  steps  Hope  holds  a lamp  as  she  looks  back  on  the  stream  of 
humanity,  while  Love,  frighted  at  the  figure  of  Death,  clings  to  her  side.  Beneath  these, 
again,  a child  has  let  fall  a vessel  of  glass — ‘the  false  and  fragile  glass’ — which  lies  broken 
upon  the  marble  stair.  He  holds  by  the  cloak  of  a woman  bowed  in  grief,  who  is  about 
to  place  a wreath  upon  the  bier  as  the  boat  with  its  dark  freight  passes,  and  Atropos, 


41  >•  33- 

No.  35-  “ The  Farmer  s Daughter."  W.  Q.  Orchardson,  R.  A. 

kneeling  at  her  side,  with  her  shears  snaps  the  thin  golden  thread  which,  from  the  infant  in 

the  arm  of  Life,  can  be  traced  all  through  the  design  till  it  is  coiled  at  last  in  the  hand  of 

Death  as  he  draws  the  pall  over  his  last  victim,  and  his  barge,  hung  with  garlands  of  pop- 
pies, glides  on  its  silent  way.” 

In  a different  spirit  from  the  foregoing,  a good  deal  later  than  the  Renaissance,  almost, 

it  might  be  said,  in  the  style  of  modern  French  art,  is  the  “ Aphrodite ,”  by  P.  H.  Calderon, 

which  hung  in  the  center  of  the  great  room.  There  is  a peculiar  dash  and  a brilliancy,  apart 
from  fine  modeling,  about  this  picture;  in  quality  of  color  it  might  have  been  painted  by 
Bougereau,  but  there  is  more  spontaneity  here.  It  is  difficult  to  picture  to  the  mind,  with- 


The  G r osve nor  Gallery. 


H7 


out  color,  the  brightness  of  the  blue  sea,  crested  with  foam,  the  sweep  of  the  sea-gulls 
on  the  wind,  the  fair  locks  of  “ Aphrodite ,”  and  the.  beautiful  form  on  the  waves.  As  a 
design  it  is  vigorous  and  striking,  and  is,  to  a certain  extent,  a new  departure  for  this 
artist.  The  critics  asked  the  question,  “ Where,  with  such  successes  as  this  picture,  and  the 
small  study  of  a girl  bathing  of  last  year,  is  this  artist  to  stop?”  “Will  he,  as  a member 
of  the  Academy,  go  further  in  the  study  of  the  nude,  and  place  his  pictures  on  the  walls 
at  Burlington  House,  where  such  subjects  are  seldom  exhibited?” 

Somewhat  similar  in  aim,  but  quieter,  more  tentative,  less  sure  of  success,  and,  as  a con- 
sequence, perhaps,  more  refined,  is  the  delicate  and  original  study  of  two  figures  on  the 
shore  of  the  Mediterranean  Sea,  by  Mrs.  John  Collier,  of 
whose  work  we  have  spoken  on  page  116.  This  picture 
is  low  in  tone,  with  a pearly  gray  light  over  the  sea  and 
sand-hills,  a curious  contrast  in  treatment  to  Mr.  Calderon’s. 

Two  young  artists  may  be  mentioned  together  on  this 
page.  Mr.  W.  E.  F.  Britten  has  already  made  himself  a 
name  as  a draughtsman  of  the  figure,  and  has  executed 
some  fine  decorative  studies  of  boys  and  dolphins.  He 
is  at  present  engaged  on  some  designs  for  the  Earl  of 
Leconsfield’s  house  in  London  in  conjunction  with  the 
architect,  Mr.  G.  Aitchison,  A.  R.  A.  Mr.  Britten’s  “ Flight 
of  Helen ,”  a large  picture,  one  of  a series  painted  for  Wy- 
fold  Court  for  the  late  Edward  Hermon,  M.  P.,  was  exhib- 
ited in  the  Grosvenor  Gallery  in  1 88 1.  His  little  picture 
in  the  Grosvenor  Gallery  (No.  97)  is  a study  of  color,  the 
background,  deep-blue  sea  melting  into  gray  green  on  the 
wet  sand. 

Mr.  Bartlett  has  risen  rapidly  to  the  front  as  a painter 
of  sea-coast  scenes  in  various  places.  In  1881  he  sent  a 
study  from  the  west  coast  of  Ireland;  last  year,  “ Bathing 
and  Crab-catching  on  the  Lagoons  ” at  Venice. 

Mr.  Weguelin  is  an  experienced  painter  of  small  classic  subjects,  many  of  which  have 
been  seen  in  this  gallery.  Mr.  Weguelin,  Mr.  Britten,  and  Mr.  Bartlett  are  among  the 
artists  who  owe  much  to  the  directors  of  the  Grosvenor  Gallery  for  the  early  recognition 
of  their  works. 

No  pleasanter  specimen  of  Mr.  Orchardson’s  art  has  been  seen  of  late  than  his  picture 
of  “ The  Farmer s Daughter ,”  an  unimportant  subject,  calling  for  no  great  effort  on  the 


38  X 21. 


No.  214.  “ Far  from  the  M adding 
Crowd." 

R.  W.  Macbeth,  A.  R.  A. 


English  Art  in  1884. 


1 4.8 


part  of  the  painter,  but  exhibiting  his  skill  and  refinement  of  color — a scheme  of  yellow, 
brown,  and  gray ; the  girl  in  pink  and  white  dress.  But  the  statuesque  little  maiden,  hold- 
ing a pigeon  on  her  wrist,  is  quite  as  mannered  and  characteristic  of  the  artist  as  is  Mr. 
R.  W.  Macbeth’s  fashionable  lady  in  a high-crowned  hat  and  feather  in  “ Far  from  the 


No.  87.  Twixt  Bay  atid  Night.”  W.  J.  Hennessy. 


Madding  Crowd''  which  the  artist  has  sketched  for  us.  The  latter  is  bright  and  sunny  to 
a degree,  but,  like  Mr.  Orchardson’s,  a picture  more  of  color  than  of  sentiment.  There  is  a 
suggestive  air  of  retrospection  in  the  attitude  of  the  lady,  but  the  interest  is  attracted  mainly 
to  the  dashing  painting  of  costume  and  accessories.  Mr.  Macbeth  was  seen  to  best  advan- 
tage in  the  Royal  Academy. 


The  Grosvenor  Gallery. 


149 


There  is  sentiment  and  also  truth  to  nature  in  Mr.  W.  J.  Hennessy’s  landscape,  “ ’ Twixt 
Day  and  Night]'  with  the  Normandy  peasants,  old  and  young,  passing  through  an  orchard 
under  the  silver  light  of  a summer  moon.  The  figures  are  the  strong  point  in  the  picture. 
All  is  harmonious  and  quiet,  not  to  say  prosaic,  but  the  interest  is  great  from  an  artistic 
point  of  view.  Mr.  Hennessy  has  drawn  the  figures  separately  and  in  the  landscape,  to  give 
a better  idea  of  the  picture. 


39  x 28. 

No.  121.  “ Caller  Herrin' .”  David  Carr. 


“ Wives  and  mithers  maist  despairin’ 
Ca’  them  lives  o’  men.” 


36  x iS. 


No.  151.  “ Golden  Hours." 

J.  P.  Jacomb-Hood. 


Mr.  David  Carr,  the  painter  of  “ La  Force ” in  1883,  is  resting  on  his  laurels.  This  year 
his  subject  is  one  of  the  heroines  of  Kingsley’s  poem,  “ Caller  Herrin",'  a somewhat  unusual 
type  of  fisherwoman,  as  we  are  apt  to  picture  them,  but  one  that  may  be  true  to  life,  never- 
theless. 

Mr.  Jacomb-Hood,  like  Mr.  David  Carr,  has  painted  scenes  from  the  history  of  the 
French  Revolution;  this  year  to  the  Grosvenor  Gallery  he  sent  “ Golden  Hours"  ( 1 5 1 ),  a 
graceful  subject,  well  drawn  and  good  in  color. 


1 5o 


English  Art  in  1884. 


Mr.  E.  A.  Waterlow  sent  a picture  entitled  “ A Saunter  through  the  Fields" — a rustic 
maiden  walking  through  meadows,  bright  with  poppies  and  white  and  yellow  flowers ; also 

“ The  Shepherd's  Return'd  the  pretty  pastoral 
sketched  on  page  164.  Here  we  want  color  to 
aid  description  ; the  freshness  and  airy  effect  of 
these  landscapes  are  typical  of  much  healthy  Eng- 
lish work.  Mr.  Haynes  Williams’s  two  pictures 
sketched  above,  if  somewhat  conventional  in  treat- 
ment, are  thoroughly  well  painted.  One  of  these 
subjects  we  have  also  reproduced  as  a photo-plate. 
This  artist  had  also  a small  and  interesting  study  of 
a table  and  chairs,  tapestried  wall  and  polished  floor, 
in  a used  apartment  at  Fontainebleau.  Apart  from 
the  skillful  painting  of  textures,  the  artist  managed 
to  endow  the  furniture  with  quite  a living  interest, 
suggestive  of  former  occupants  and  their  history. 
The  pictures  by  Mr.  E.  H.  Fahey,  Mr.  Edgar 
No.  93c  "A  Love  ‘ Sett : ” E.  H.  Fahey.  Barclay,  Mr.  Smallfield,  and  Mr.  Arthur  Lemon 


The  Grosvenor  Gallery 


151 


No.  46.  “ Rescued  Fruit:  A Flood  at  Athelney .”  Edgar  Barclay. 


152 


English  Art  in  1884. 


62  X 48. 


No.  35.  “ The  Rival  Grandfathers J.  R.  Reid. 

little  more  delicacy  and  sense  of  harmony 
Scotch  painters,  such  as  Mr.  David  Murray, 


this  year  call  for  no  special  remarks.  The 
feeling  of  landscape  is  strong  in  Mr.  Barclay 
and  Mr.  Lemon.  The  latter  has  a good 
eye  for  color:  the  blue  of  the  highwayman’s 
coat  is  well  balanced  against  the  low-toned 
trees ; the  action  is  good,  and  the  story  well 
suggested. 

The  young  Scotch  artist,  Mr.  J.  R.  Reid, 
whose  work  we  have  already  seen  in  the 
Academy,  was  well  represented  in  the  Gros- 
venor  Gallery  with  his  “ Rival  Grandfathers ,” 
a picture  which,  had  it  been  a little  less 
coarsely  painted  and  a little  less  uniform  in 
its  tone  of  blue,  would  have  made  the  repu- 
tation of  many  an  older  painter.  Nothing  in 
the  gallery  was  better  than  the  drawing  of 
the  young  fisher-girl,  or  more  natural  than 
the  attitudes  of  the  old  men  and  child.  A 
in  color  seem  to  be  the  need  of  many  young 
whose  landscape  hung  near  the  foregoing. 


14  X 10. 

No.  334.  “ Favorites ( Water-color .) 
Miss  Lizzie  Reid. 


“ All  is  safely  gathered  in 
Ere  the  winter  storms  begin.” 


The  Grosvenor  Gallery 


*53 


No.  185.  “ The  Song  of  the  Sea-Birds.” 

W.  Hughes. 


44  x 32. 

No.  96.  “ A Descent  upon  Italy.” 

Sydney  P.  Hall. 


The  sisters  of  Mr.  John  Reid  were  also  exhibitors  this  year,  one  in  oils  and  one  in 
water-colors.  The  figure  of  the  man  in  Miss  Flora  Reid’s  “ October  ” is  excellent. 

Thoroughly  decorative  in  spirit  and  design  is  the  large  silver  panel  by  Mr.  W.  Hughes, 
which  occupies  a large  space  at  the  end  of  the  East  Gallery,  over  Mr.  Richmond’s  portrait 
of  “May"  and  Mr.  North’s  landscape.  These  harmonies  have  all  been  considered  in  the 
hanging  of  the  pictures  in  the  Grosvenor  Gallery. 


17  X 24. 

No.  173.  “ ‘ One  Good  Turn  deserves  another.'  ” J.  Emms. 


20 


!5  + 


English  Art  in  1884. 


The  motive  of  Mr.  S.  P.  Hall’s  “ Descent  upon  Italy ” is  best  described  in  Plutarch’s 
“ Life  of  Caius  Marcius.”  Speaking  of  the  early  wars  of  the  inhabitants  of  the  mountains, 
he  writes:  “They  held  their  enemies  in  such  contempt,  and  came  on  with  so  much  inso- 


26  x 48. 

No.  217°  “ Funeral  of  Thomas  Carlyle , at  Ecclefechati."  Robert  W.  Allan. 


lence  that,  rather  to  show  their  strength  and  courage  than  out  of  any  necessity,  they  ex- 
posed themselves  naked  to  the  showers  of  snow ; and,  having  pushed  through  the  ice  and 
deep  drifts  of  snow  to  the  tops  of  the  mountains,  they  put  their  broad  shields  under  them, 
and  so  slid  down  in  spite  of  broken  rocks  and  vast  slippery  descents.” 

Mr.  Emms  and  Mr,  Beadle  are  two  of  the  many  young  artists  which  this  gallery  has 
brought  to  the  front,  but  whose  pictures  need  no  special  description.  More  serious  in  mo- 


8 x 12. 

No.  19.  11  Tiny  Elizabeth , you  must  not  leave  us." 

■ Mrs.  Alma-Tadema. 


street,  presently  to  turn  into  the  gateway  of 
was  dark  and  drear ; a leaden  sky  shrouding 


tive  is  a sympathetically  painted  picture  by  a 
young  Scotch  artist,  which  was  unfortunately 
placed  in  the  gallery.  “ I made  up  my  mind,” 
Mr.  Allan  writes,  “that  Ecclefechan,  the  burial- 
place  of  Carlyle’s  own  family,  would  be  the 
place  selected  for  the  solemn  ceremony ; so  I 
made  a special  journey,  and  arrived  just  in 
time  to  make  notes  of  the  place.  No  one 
was  present  at  the  funeral  save  his  own  kin- 
dred and  the  poor  people  of  his  native  vil- 
lage, as  everything  had  been  kept  secret.” 
The  funeral-procession  of  Thomas  Carlyle 
is  seen  approaching  along  the  snow-covered 
the  graveyard  on  the  right  of  the  picture.  All 
the  muffled  figures  of  the  villagers  waiting  by 


The  Grosvenor  Gallery. 


*55 


the  entrance  in  the  wall ; the  “ square,  uncomely  kirk,”  the  snow-covered  street,  all  ending 
in  gloom,  suiting  well  the  temper  of  the  departed. 

Two  little  pictures,  quiet  in  color  and  very  carefully  painted,  No.  19,  are  by  Mrs.  Alma- 
Tadema;  the  one  sketched  is  taken  from  the  story  of  “ The  Burgomaster’s  Daughter.” 

On  the  walls  of  the  Grosvenor  Gallery,  covered  but  a few  months  ago  with  the  works 
of  Sir  Joshua  Reynolds,  some  of  our  greatest  living  portrait-painters  exhibited  last  season. 


40  x 29. 

No.  106.  “ Portrait  of  the  Marquis  of  Lome.”  J.  E.  Millais,  R.  A. 


It  may  be  that  in  the  comparative  quiet  of  the  Grosvenor  Gallery,  with  less  crowding  and 
more  care  bestowed  upon  the  juxtaposition  of  pictures,  the  Royal  Academician  finds  a 
better  place  for  the  display  of  his  pictures  than  at  Burlington  House.  Certain  it  is  that 
the  spring  exhibitions  at  the  Grosvenor  Gallery  give  the  best  idea  of  the  style  and  quality 
of  contemporary  English  portraiture.  Three  years  ago  there  was  a memorable  collection  of 
the  works  of  G.  F.  Watts;  and  later,  of  those  of  L.  Alma-Tadema.  Last  year  there  was  a 
fine  portrait  of  a boy,  by  E.  Burne-Jones,  in  fifteenth-century  manner;  and  occasionally  Mr. 
Holman  Hunt  sends  a portrait.  This  year,  between  the  great  exhibitions  of  the  Reynoldses 


1 56 


English  Art  in  1884. 


and  the  Gainsboroughs,  we  have  had  portraits  by  Millais,  L.  Alma-Tadema,  Watts,  Rich- 
mond, Boll,  Herkomer,  and  many  others. 

The  “ Portrait  of  the  Marquis  of  Lome ,”  by  J.  E.  Millais,  R.  A.,  presented  by  the 
painter  to  the  National  Gallery  of  Canada,  which  hung  at  the  end  of  the  large  room,  is,  as 
the  sketch  indicates,  an  extremely  life-like  presentment  of  the  late  Governor-General  of  the 
Dominion,  and  an  excellent  example  of  the  artist’s  style.  Two  interesting  portraits  by  the 


No.  113.  “ Portrait  of  Miss  Mary  Anderson."  C.  E.  Halle. 

same  hand,  one  of  Miss  Nina  Lehmann  as  a child  in  1868,  in  white  dress  seated  on  a 
green  earthenware  garden-seat,  and  another,  of  the  same  sitter,  in  white  dress  with  golden 
background,  as  Lady  Campbell,  married  in  1884,  showed  Millais  at  his  best,  and  afforded 
opportunity  for  the  comparison  of  his  later  and  earlier  methods  of  work.  The  “ Portrait  of 
the  Marquis  of  Lome ” full  of  breadth  and  vigor,  is  rather  sketchy;  but  here  the  require- 
ments of  portraiture  have  been  more  considered,  and  the  details  are  put  in  with  wonderful 
certainty  and  precision.  Such  portraits  as  these  might  well  hang  side  by  side  with  the  older 
masters  of  the  English  school. 


The  Grosvenor  Gallery. 


I57 


The  portraits,  by  G.  F.  Watts,  of  Lord  Salisbury  and  Lord  Lytton,  are  characteristic 
of  another  and  altogether  different  style,  more  subtile  if  less  powerful  than  the  foregoing, 
depicting  the  inner  life  rather  than  the  outward  characteristics  of  the  man.  It  is  said  with 
much  truth  of  Watts,  that  you  must  know  the  requirements  of  good  portraiture,  and  the 
character  of  the  sitter , to  appreciate  his  work. 

But  nothing  in  the  portraiture  of  the  year  has  probably  exceeded  in  power  and  unflinch- 
ing realism  the  work  of  L.  Alma-Tadema.  In  the  Grosvenor  Gallery  there  were  three  por- 


59  x 32. 

No.  31.  “Homeward.”  Rudolf  Lehmann. 


traits  by  him,  two  of  his  friends,  “ Signor  G.  B.  Amencio/a ,”  sketched  at  the  head  of  this 
section,  the  well-known  sculptor  working  at  a little  silver  statuette  of  Mrs.  Alma-Tadema, 
and  “ Herr  Lowenstam .”  The  third  portrait,  of  “ Miss  Lewis]'  a young  lady  with  jet-black 
hair,  seated  in  white  dress,  is  a technical  triumph,  the  most  powerful  and  realistic  portrait 
in  the  room.  But,  in  the  details  in  the  two  first-named  portraits,  in  the  painting,  for 
instance,  of  the  head  in  the  mirror,  and  of  the  surface  of  the  copper-plate  at  which  Herr 
Lowenstam  is  at  work,  and  the  green  acid  in  the  glass,  Mr.  Tadema  is  at  his  best,  every 
detail  adding  character  to  the  portraits. 


English  Art  in  1884. 


158 


The  graceful  portrait  of  “ Miss  Mary  Anderson ” 
by  C.  E.  Halle,  which  occupied  one  of  the  places 
of  honor  in  the  large  room,  has  especial  interest  at 
present  in  England.  She  stands  in  easy  attitude,  in 
a light  dress,  with  a copy  of  “Romeo  and  Juliet” 
in  her  hand  — the  play  she  was  studying  when  her 
portrait  was  taken.  Mr.  Halid  has  been  very  suc- 
cessful in  several  portraits  of  ladies,  notably  one  of 
the  wife  of  E.  J.  Poynter,  R.  A.  At  the  time  of 
writing  it  was  not  settled  whether  the  portrait  of 
“Miss  Anderson”  is  to  be  engraved,  but  the  hand- 
ling and  balance  of  light  and  shade  would  probably 
reproduce  well. 

Among  the  most  prominent  portrait-painters  who 
exhibit  in  the  Grosvenor  Gallery  we  should  have 
mentioned  W.  B.  Richmond.  His  portraits  of  the 
two  “ Miss  Mir  lees  A nearly  life-size — one  seated,  one 
standing,  in  green  velvet  dress  and  hat — had  great  distinction  ; and  another,  of  a fair  young 
girl,  entitled  “May”  (No.  184),  seated  at  a piano-forte  in  light-brown  dress  (recalling  the  “St. 
Cecilia”  of  Sir  Joshua  Reynolds,  lately  seen  at  Burlington  House),  is  most  delicately  and 
harmoniously  painted,  showing  this  comparatively  young  artist’s  powers  to  great  advantage. 


36  x 27. 

No.  103.  “ The  Little  Bookworm.” 

Val  C.  Prinsep,  A.  R.  A. 


40  x 50. 

No.  86.  “ Portrait  of  Mrs.  Duff.”  John  Collier. 


The  G ro  see  nor  Gallery. 


r59 


40  x 52. 

No.  197-  “ Portrait  of  Madame  Bodichon." 

Miss  E.  M.  Osborne. 


Near  Mr.  Richmond’s  works,  and  on  either 
side  of  the  great  picture  of  “ King  Cophetua',' 
were  the  portraits  by  F.  Holl,  R.  A.,  Hubert 
Herkomer,  A.  R.  A.,  and  Rudolph  Lehmann. 

These,  especially  the  “ Lord  Houghton ,”  by 
Lehmann,  suffered  in  color  from  juxtaposition 
with  Mr.  Burne-Jones’s  picture.  The  portrait 
of  “ Lord  Brabottrne ,”  by  Herkomer,  is  a 
powerful  likeness,  and  there  were  others  by  * 
him  in  the  gallery ; but,  altogether,  the  por- 
traits of  ladies  and  children  may  be  said  to 
have  been  the  successes  at  the  Grosvenor  Gal- 
lery; including  the  “ Queen  of  the  May''  by 
Herbert  Schmalz,  “ The  Little  Bookworm',' 

by  Val  C.  Prinsep,  and  the  works  of  James  Sant,  R.  A.,  John  Collier,  and  James  Whistler. 

The  work  of  five  ladies,  portrait-painters,  regular  contributors  to  the  exhibitions  at  the 
Grosvenor  Gallery,  may  be  mentioned  together — Miss  Osborne,  Mrs.  Jopling,  Mrs.  Merritt, 

Mrs.  John  Collier,  and  Mrs.  H.  M.  Paget.  Miss 
Osborne,  whose  well-known  picture  of  “ The  Gov- 
erness',' in  possession  of  the  Queen,  has  been  en- 
graved and  distributed  into  thousands  of  English 
homes,  sent  a life-size  portrait  of  “ Madame  Bodi- 
chon',' the  wife  of  Dr.  Eugene  Bodichon,  of  Algiers. 
Madame  Bodichon,  herself  a landscape-artist  of  con- 
siderable repute,  is  best  known  in  England  by  her 
philanthropic  work  in  connection  with  the  educa- 
tion of  women,  and  as  one  of  the  founders  of  Gir- 
ton  College  at  Cambridge.  Miss  Osborne  depicts 
her  friend  at  work  in  her  country  home  at  Hast- 
ings, in  Sussex. 

Mrs.  Anna  Lea  Merritt,  of  Philadelphia,  in  her 
new  studio,  “The  Cottage,”  Tite  Street,  Chelsea, 
surrounded  by  a little  colony  of  artists  (among 
them  J.  M.  Whistler,  Frank  Miles,  Frank  Dicey, 
and  Mr.  and  Mrs.  John  Collier),  is  busily  engaged 
on  portraits,  among  them  one,  finished  but  not  yet 


No.  160. 


60  x 42. 

“ Portrait  of  AT rs.  F.  E.  Col  man." 

Mrs.  A.  L.  Merritt. 


i6o 


English  Art  in  1884. 


exhibited,  of  “Mrs.  Stirling ,”  and  “ Miss  Ellen  Terry ” 
in  “Romeo  and  Juliet.”  Mrs.  Merritt  had  the  courage 
last  year  to  send  a life-size  nearly  nude  figure  of  “Ca- 
milla ” to  the  Academy,  and  this  year  had  a picture 
(sketched  on  page  45)  of  the  fair  maiden  and  the 
knight  in  armor  in  “La  Belle  Dame  sans  Merci ” — 
occupying  a very  large  space  on  the  Academy  walls. 
The  vigorous  character  of  this  artist’s  work,  both  in 
design  and  draughtsmanship,  and  the  rapidly  increasing 
quality  of  her  technique , are  generally  admitted  in 
London. 

Mrs.  H.  M.  Paget,  living  in  Bedford  Park,  the  so- 
called  aesthetic  village  at  Chiswick,  near  London,  paints 
in  the  same  studio  with  her  husband,  who  exhibited 
this  year  at  the  Academy.  The  children  in  red  and 
blue  frocks,  “ Brunetta  e Biondina ,”  painted  by  Mrs.  Paget,  are  boldly  and  at  the  same 
time  decoratively  treated  in  brilliant  colors,  well  harmonized. 

Among  the  portrait-painters  we  should  not  omit  to  mention  Mr.  Felix  Moscheles,  whose 
portraits  of  himself  and  his  wife  in  the  Grosvenor  Gallery  are  presented  on  this  page.  Mr. 


20  X 16. 

No.  1 12.  “ Brunetta  e Biondina." 

Mrs.  H.  M.  Paget. 


20  x 18. 

No.  176 . “Mrs.  F.  Moscheles." 

F.  Moscheles. 


32  x 24. 

No.  183.  “ Portrait  of  the  Artist." 

F.  Moscheles. 


GOING  TO  THE  FOUNTAIN. 
Haynes  Williams. 


The  Grosvenor  Gallery. 


161 


Moscheles,  the  son  of  the  well-known  composer,  is  himself  a musician,  and  in  the  London 
season  his  studio  is  crowded  with  musical  celebrities  as  well  as  artists.  When  on  a recent 
visit  to  New  York,  where  he  had  a studio  at  the  Park  Avenue  Hotel,  Mr.  Moscheles  made 
the  experiment  of  giving  a practical  lesson  in  portrait-painting,  and  illustrating  his  remarks 
by  painting  a portrait  before  an  audience  of  about  fifty  persons.  Those  who  were  near 
enough,  both  to  hear  and  to  see  Mr.  Moscheles  at  work, 
gained  a certain  amount  of  knowledge  of  the  methods 
and  technique  of  the  art ; but  it  is  open  to  question 
whether,  excepting  in  art-schools,  such  teaching  can  be 
of  much  practical  benefit.  Mr.  Moscheles  is  skillful  in 
the  art  of  sketching  in  a portrait  in  oils  in  an  hour 
and  a half,  and  has  much  to  say  that  is  of  interest  on 
the  subject,  but  of  the  requirements  of  portraiture,  and 
of  the  serious  and  arduous  nature  of  the  work,  these 
sketch-lectures  give  little  idea ; and  it  is  possible  that  a 
non-critical  audience,  attracted  by  such  a tour  de  force 
as  a life-size  head  growing  upon  the  canvas  before  their 
eyes  in  less  than  two  hours,  may  go  away  with  the 
idea  that  portrait-painting  is  a rather  overrated  and 
overpaid  profession.  But  Mr.  Moscheles  is  serious  in 
his  art,  and  in  his  object  of  giving  information  to  stu- 
dents by  the  eye  as  well  as  by  the  ear.  The  portraits 
of  himself  and  Mrs.  Moscheles  are  two  out  of  many 
lately  painted  by  this  artist. 

Other  portrait-painters,  exhibitors  in  the  Grosvenor  Gallery  in  1884,  whose  sketches 
appear  on  these  pages,  were  Mr.  Edward  Hughes,  Mr.  Herbert  Schmalz,  Mr.  Julian  Story, 
and  Mr.  Weedon  Grossmith. 

The  landscapes  in  the  Grosvenor  Gallery  are  seen  to  so  much  better  advantage  than  in 
the  Academy  that  critics  may  be  apt  to  attach  too  much  relative  importance  to  them. 
But,  just  as  certain  figure-subjects,  which  we  have  admired  here,  would  have  been  crowded 
out  of  sight  in  the  great  throng  at  Burlington  House,  so  there  are  certain  landscapes  which 
it  would  have  been  impossible  to  appreciate  or  examine  in  the  Academy.  Among  these  we 
should  mention  first  the  work  of  Mr.  J.  W.  North.  “ Our  Hedges  and  Ditches ,”  by  this 
artist,  is  an  elaborate  study  of  the  undergrowth  of  early  spring,  a tangle  of  branches  and 
blossoms,  with  innumerable  varieties  of  twig  and  flower;  a delicate  net-work  of  Nature’s 
weaving  put  on  canvas  with  a loving  hand.  Such  painting  we  seldom  see  attempted  in 


46  X 28. 


No.  257-  “ Dulcie,  Daughter  of  Philip 

Water  low,  Esq." 

Weedon  Grossmith. 


21 


1 62 


English  Art  in  1884. 


oils;  and  the  composition  of  it  can  not,  as  Mr.  North  says  himself,  be  indicated  in  any 
sketch  in  black-and-white.  But,  unpretending  as  the  subject  is — the  only  human  interest 

being  in  one  or  two  girls  gathering  the  last  winter’s  sticks,  painted  on  a very  small  scale — 
we  are  taken  to  it  again  and  again  as  a rare  bit  of  nature. 

Much  more  obvious,  both  in  motive  and  in  handling,  and  as  strong  a contrast  as  we 
could  find  easily  in  one  gallery,  is  the  work  of  Miss  C.  Montalba.  The  glowing  red-tiled 
roofs  of  the  old  Flemish  town  of  Middelburg,  the  aspect  of  quiet  and  calm  at  the  old  sea- 


27  x 49- 

No.  224.  “ The  Port  of  Middelburg."  Miss  Clara  Montalba. 

port,  with  the  craft  waiting  for  wind  and  tide,  take  us  to  another  atmosphere  than  Eng- 
lish fields.  Miss  Montalba  succeeds  in  giving  us  an  exact  indication  of  her  picture,  which 
is  true  in  local  color,  and  composed,  as  we  see,  with  great  breadth  and  skill. 

Two  pictures  by  Associates  of  the  Academy  must  be  mentioned  with  the  landscapes. 
Mr.  Boughton’s  scenes  in  Holland  have  the  advantage  of  figures  in  quaint  costumes,  but,  in 
a “Quiet  Corner  of  a Garnered  Field the  interest  and  beauty  are  in  the  treatment  of  the 
landscape;  so,  also,  in  Mr.  Gregory’s,  entitled  “ Startled ” — a little  picture  of  a bank  near  a 
wood,  with  a child  startled  by  a hare — the  painting  of  the  bank  and  the  wood  must  be  first 
considered. 

The  large  landscape  (No.  60)  sent  by  Mr.  Parsons,  studied  near  Stratford-on-Avon, 
formed  one  of  the  features  of  the  main  gallery.  The  style  of  the  illustrator  of  so  many 


The  Grosvenor  Gallery 


publications  is  well  known  in  black-and-white,  but  here  we  have  a study  of  color;  sunset 
light  streaming  across  the  meadows,  and,  in  the  river  on  the  left,  the  moon’s  reflected  light. 
There  is  a touch  of  sadness  in  the  picture,  as  in  Mark  Fisher’s  quiet  landscape  with  cattle 
following  a peasant  carrying  an  armful  of  fresh  cuttings  through  an  orchard  in  Normandy; 
very  natural  in  action,  and  harmonious  with  the  blue  of  the  old  peasant’s  dress  against  the 
foliage  and  gray  sky. 


No.  213.  “Homeward."  Mark  Fisher. 


164 


English  Art  in  1884 


The  G ro  see  nor  Gallery 


165 


1 


36  x 54- 


No.  29.  “ Tipping  a Shrimp -Trawl.”  C.  Napier  Hemy. 


Sketches  of  four  fine  landscapes  are  placed  together  on  page  164;  of  Mr.  Henry  Moore, 
Keeley  Halswelle,  E.  A.  Waterlovv,  and  Mr.  W.  S.  Jay.  The  first  three  of  these  artists  we 
have  seen  in  the  notice  of  the  Royal  Academy. 

Two  regular  contributors  to  the  exhibitions  at  the  Royal  Academy  make  their  appear- 


37  X 73. 


No.  170.  “ Coral- Fishing  in  the  Gulf  of  Salerno.”  Hamilton  Macallum. 


1 66 


English  Art  in  1884 


60  x 40. 


No.  40.  “ ‘ Leaves  have  their  Time  to  fall.'  ” David  Murray,  A.  R.  S.  A. 

ance  this  year  only  at  the  Grosvenor  Gallery.  Mr.  Hemy  paints  on  the  coasts  of  Devon- 
shire and  Cornwall,  but  Mr.  Hamilton  Macallum  chooses  more  sunny  scenes  on  the  coast 
of  Italy.  These  painters  know  the  sea,  and  their  pictures  are  very  little  idealized.  Mr. 
Macallum,  as  a rule,  waits  and  observes  until  the  picture  is  before  him,  and  studies  with 
great  success  the  effect  of  rippling,  luminous  sea,  which  he  has  given  us  in  “ Coral-Fishing 


22  X 30. 


No.  32.  “ Gathering  Fuel — Sestri  Levante."  F.  W.  W.  Topham. 


The  Grosvenor  Gallery 


167 


1 68 


English  Art  in  1884. 


in  the  Gulf  of  Salerno'.'  It  is  no  secret  that  this  fine  picture  was  rejected  at  the  Royal 
Academy.  But  sea-painters  like  Hamilton  Macallum,  C.  N.  Hemy,  and  Henry  Moore  are 
assured  of  success,  no  matter  what  may  befall  their  works  at  the  hands  of  the  hanging 
committee,  who  (in  the  multitude  of  pictures  sent  in  every  year)  sometimes  omit  important 
works  like  the  foregoing. 

Mr.  David  Murray’s  “ Leaves  have  their  Time  to  fall"  and  Mr.  Topham’s  “ Gathering 
Fuel"  were  prominently  placed  in  the  Grosvenor  Gallery.  The  subjects  are  similar,  but 
nothing  could  be  more  dissimilar  than  the  treatment  of  the  two  pictures : the  former,  liter- 


30  X 20. 

No.  144-  “Music  and  Moonlight  — Venice .”  T.  C.  Farrer. 

ally,  rather  coarsely  painted,  but  good  in  color  and  drawing;  the  latter,  a picture  of  Italy  in 
the  old  familiar  colors,  with  blue  distance  and  picturesque  peasantry. 

Other  landscapes,  sketched  on  page  167,  are,  “ Resting  the  Drove ” (No.  157),  by  J. 
Smart,  a prominent  member  of  the  Royal  Scottish  Academy  ; a bit  of  old  Lambeth  Palace 
(No.  1 37),  by  C.  E.  Holloway,  a good  painter  of  the  Thames;  “ Three  Fishers ,”  by  E.  H. 
Fahey  ; and  “ The  Old  Orchard"  by  I.  Hetherington. 

Mr.  T.  C.  Farrer  has  painted  a view  of  Windsor  Castle  in  sunset  glow,  and  another  of 
Venice  by  moonlight ; of  the  latter  he  writes : “ Every  one  who  has  been  in  Venice  will 
remember  the  barge  that  goes  out  every  moonlight  night  with  its  load  of  musicians,  and 


The  Grosvenor  Gallery . 


169 


traverses  the  Grand  Canal,  stopping  at  the  different  hotels  and  well-known  places  of  resort 
for  foreigners,  making  the  night  gay  with  the  sound  of  music  and  the  flash  of  the  gondo- 
liers’ oars.”  Of  the  innumerable  artists  who  have  chosen  this  subject,  few — from  Canaletto  to 


24  X 28. 

No.  313.  “Off  the  Coast  of  Portugal Tristram  Ellis. 


Mr.  Farrer — have  quite  succeeded  in  drawing  a gondola;  but  the  main  interest  here  is  in 
the  beautiful  moonlit  sky  and  the  movement  on  the  waters  of  the  Adriatic. 

The  water-colors  at  the  Grosvenor  Gallery  never  form  a very  important  part  of  this 
exhibition.  During  the  lifetime  of  Richard  Doyle,  and  until  last  year,  this  part  of  the 
gallery  was  enlivened  with  many  of  his  fairy  legends  and  drawings,  always  full  of  fancy  and 
humor.  Mr.  Walter  Crane  and  other  water-color  artists  have  contributed,  and  there  are 
always  some  interesting  examples  of  the  art.  Mr.  Tristram  Ellis  sent  three  drawings  this 


14  x 30. 

No.  363.  “Antwerp."  A.  B.  Donaldson. 


year,  one  of  which  he  has  sketched;  Mr.  Donaldson’s  “Antwerp"  is  a wonderfully  airy  view 
across  the  Scheldt  a little  after  high  water.  True  in  tone  and  good  in  perspective,  this  little 
drawing  brings  the  city  before  us  with  great  reality. 


22 


English  Art  in  1884. 


170 


13  X 19. 

No.  342.  “ By  the  Wayside."  David  Bates. 


It  is  difficult  to  indicate  any  of  the  studies  of  “still  life”  in  a sketch,  but  Mr.  David 
Bates  has  shown  us  his  “By  the  Wayside”  near  a wood  in  an  English  country  lane; 
“ Meadow-Sweet ,”  by  Edith  Berkley,  is  a graceful  and  pretty  bit  of  color;  and  the 
“ Twins”  by  S.  Berkely,  both  truthful  and  humorous : the  latter  would  make  a good  en- 
graving. There  was  a small,  unimportant  portrait  in  water-colors  of  Dante  Rossetti  as  a 
young  man,  by  Holman  Hunt;  and  works  by  Professor  Legros,  Stuart  Wortley,  J.  M.  Jop- 
lin, R.  R.  Holmes,  W.  E.  F.  Britton,  Edgar  Barclay,  Arthur  Hughes,  Gerald  Robinson, 
Mrs.  Stillman,  Mrs.  Gosse,  Mrs.  Cecil  Lawson,  and  Mrs.  Joplin. 


The  Grosvenor  Gallery. 


171 


Hamo  Thornycroft,  A.  R.  A. 


The  sculpture-gallery  included  works  by  J.  E.  Boehm,  R.  A.,  Hamo  Thornycroft,  A.  R.  A., 
Professor  Legros,  G.  B.  Amendola,  Count  Gleichen,  T.  N.  MacLean,  E.  Onslow  Ford,  E. 
R.  Mullins,  R.  B.  Browning,  Waldo  Story,  T.  S.  Lee,  Miss  Chaplin,  Miss  Montalba,  and 


T.  Nelson  Maclean. 


R.  Barrett  Browning. 


.172 


English  Art  in  1884. 


No.  4*9-  “ Una  Sevillana {Terra-cotta  statuette .)  Peploe  Brown. 

many  others.  Mr.  R.  B,  Browning’s  large  bronze  statue  of  Dryope  was  the  prominent  object 
in  the  gallery — an  unpleasing  work,  but  full  of  promise  and  power;  and  Mr.  Thornycroft’s 
marble  statuette  of  Miss  Sassoon  one  of  the  best  pieces  of  sculpture  of  the  year. 


No,  397-  “Ethel."  {Terra-cotta  bust.) 
Miss  Henrietta  Montalba. 


No.  407.  “ Dryope  fascinated  by  Apollo  in  the  Form  of  a 

Serpent."  {Life-size  bronze .)  R.  Barrett  Browning. 


THE  INSTITUTE  OF  PAINTERS  IN 

OIL-COLORS. 


The  Institute  of  Painters  in  Oils,  which  is 
an  entirely  new  institution,  opened  its  first  exhi- 
bition on  the  17th  of  December,  1883,  at  the 
new  galleries  in  Piccadilly,  with  a collection  of 
some  eight  hundred  works  in  painting  and  sculp- 
ture. This  exhibition  is  annual,  and  open  to  all 
artists,  subject  to  the  selection  necessary  in  order 
to  obtain  the  best  works.  Mr.  J.  D.  Linton  is 
the  president,  and  there  are  a hundred  and  five 
foundation  members. 

That  there  is  no  feeling  of  antagonism  be- 
tween the  Royal  Academy  and  this  society  is 
shown  by  the  number  of  Academicians  and 
Associates  who  are  either  members  of  the  Insti- 
tute or  who  contributed  to  the  exhibition.  We 
have  selected  a few  illustrations  to  give  a gen- 
eral idea  of  the  strength  of  the  collection,  com- 
mencing with  a good  genre  picture  by  Frederick 
Brown,  an  artist  who  made  a mark  in  the  Acad- 
emy in  1883. 

Our  second  sketch  (No.  21 1),  “ A Young  Tramp]'  is  by  Henry  Wells,  R.  A.,  one  of  the 
elder  members  of  the  Royal  Academy,  the  painter  of  a very  large  picture  of  men  and  horses, 
“ Loading  at  a Quarry]'  in  the  Academy,  and  of  several  portraits  this  year.  The  artist  has 
here  found  as  an  excellent  subject  for  his  pencil  the  head  of  some  wild,  untutored,  but  intelli- 


r74 


English  Art  in  1884. 


gent-looking  young  savage,  whose  face  might  well  arouse  the  benevolent  feelings  of  the  phi- 
lanthropist. It  requires  no  seer  to  predict  that  a mind  like  that  of  this  poor  lad’s  might, 
with  proper  cultivation,  produce  the  fruits  of  a great  and  noble  life.  There  is  little  exaggera- 


No.  211.  “A  Young  Tramp."  Henry  T.  Wells,  R.  A. 

non  of  refinement  in  the  presentment  of  this  London  “gamin,”  one  of  the  “waifs  and  strays” 
of  cities ; from  a philanthropic  point  of  view,  we  should  be  disposed  to  pronounce  this  “ one 
of  the  best  portraits  of  the  year.” 

Mr.  J.  E.  Hodgson,  R.  A.,  is  another  member  of  the  Academy  whose  work  does  not 

appear  in  the  early  part  of  this  book,  but  it  would  not  be  complete  without  one  of  Mr. 

Hodgson’s  Eastern  studies.  Here  is  an  incident  in  the  late  war  in  the  East — a group  con- 
sisting of  three  Turks,  in  their  Eastern  home,  entertaining  a couple  of  “Jack  Tars.”  The 

sailor’s  habit  of  making  himself  at  home  under  all  circumstances  is  amusingly  depicted  in 

two  “ man-of-war’s  men  ” : one  is  seen  seated  crossed-legged  upon  a divan,  holding  in  one 
hand  a long  Turkish  pipe,  and  in  the  other  a cup  of  sweet  coffee,  while  his  comrade 
endeavors  to  look  as  little  like  “ a fish  out  of  water  ” as  circumstances  will  permit ; the 
staid,  sober-minded  Easterns  listen  with  dignified  courtesy  to  the  remarks  of  their  novel 
guests.  The  design  is  full  of  quiet  humor,  the  painting  firm,  and  the  details  are  given  with 
great  accuracy.  Looking  at  this  sketch,  we  are  brought  very  closely  to  the  spirit  of  Mr. 


The  Institute  of  Painters  in  Oil-Colors. 


1 75 


Hodgson’s  work;  imagination  must  picture  the  rich  yet  subdued  colors  of  the  robes  of  the 
Turks  and  their  surroundings. 

Mr.  Pettie’s  larger  works  we  have  already  noticed,  but  the  sketch  of  this  single-figure 
subject  will  give  an  idea  of  another  phase  of  his  art,  in  which  quality  and  finish  are  more 
considered.  No.  474,  “ Sweet  Seventeen ,”  by  John  Pettie,  R.  A.,  is  evidently  the  artist’s  beau- 
iddal  of  fair  girlhood — one  in  whom  the  light  of  life  and  happiness  is  bright.  In  color,  this 
was  a charming  picture,  graceful  and  easy  in  posture,  the  white  neck-handkerchief  with  its 
adornment  of  a simple  red  rose,  and  even  her  powdered  tresses,  giving  a piquant  freshness 
to  the  face  and  form.  We  imagine  this  is  one  of  those  fancy  portraits  Mr.  Pettie  has  more 
than  once  painted  with  marked  success,  and  which  have  been  afterward  engraved ; but  it  is 
not  equal  in  interest  to  “Her  Grace ,”  painted  in  1881,  and  now  familiar  as  an  etching. 


No.  441.  “ East  and  West.”  J.  E.  Hodgson,  R.  A. 


No.  446,  “ Well-known  Footsteps ,”  by  Alma-Tadema,  R.  A.  With  this  artist’s  name 
appended  to  the  picture,  it  is  hardly  necessary  to  add  that  the  treatment  of  the  subject  is 
classical.  Seated  upon  a cushioned  bench,  in  an  apartment  leading  to  the  entrance  to  her 
mansion,  a fair  Greek  girl  rests  with  her  arm  upon  a leopard’s  skin,  while  she  leans  forward, 


176 


English  Art  in  1884. 


listening  for  the  familiar  foot-fall  of  one  who  is  expected.  In  the  open  doorway,  through 
which  the  sun  is  shining  brightly,  some  one  is  advancing,  laden  with  a magnificent  offering 
of  roses,  and  beyond  is  a bright  peep  of  garden-ground.  The  picture  is  quite  a little  gem, 


the  girl’s  expectant  figure  gracefully  posed,  while  her  form  is  hidden  in  semi-shadow,  which 
makes  the  peep  of  sunlight  more  tellingly  effective.  The  sketch  indicates  well  the  type  of 
faces  and  the  curious  treatment  of  the  subject — a style  and  period  with  which  Mr.  Tadema 
has  made  us  all  familiar. 


The  Institute  of  Painters  in  Oil-  Colors. 


177 


Mrs.  Alma-Tadema  paints  in  the  same  studio,  but  it  can  not  be  said  that  she  borrows 
her  art  from  her  husband.  In  No.  196,  “A  Bible-Lesson','  the  style  she  has  struck  out  for 
herself  is  peculiarly  her  own,  and  her  designs,  while  they  often  convey  a lesson,  are  generally 
happy  combinations  of  domestic  and  picturesque  life.  In  the  daintily  painted  little  genre  pict- 
ure before  us,  a handsomely  dressed  old  lady  is  seen  engaged  in  teaching  her  little  grand- 
daughter Scripture  lessons  in  the  stories  represented  on  the  blue  tiles  with  which  the  walls 


No.  446.  “Well-known  Footsteps."  L.  Alma-Tadema,  R.  A. 

are  adorned.  Mrs.  Tadema  is  more  reticent  in  color  than  her  husband,  but,  like  him,  she 
spares  no  pains  in  the  execution  of  her  work,  and  considers  no  detail  or  accessory  too 
insignificant  to  be  painted  with  care.  Note,  for  instance,  the  introduction  of  the  grand- 
mother’s chair  and  foot-stool  in  the  distance,  how  it  adds  to  the  interest  of  the  picture  and 
balances  the  composition. 

No.  61 1,  “I\llca,”  by  Edwin  Long,  R.  A.  One  of  the  Eastern  figures  which  this  artist 
has  now  for  some  years  made  his  more  particular  study.  (See  page  12.) 

No.  101,  “ The  Blue  Girl','  by  P.  R.  Morris,  A.  R.  A.  This  artist,  who  has  been  very 
successful  in  his  treatment  of  portraits  of  children,  here  pictures  a funny  little  figure  of  a 


23 


178 


English  Art  in  1884. 


girl  in  blue  hood  and  dress,  seated  in  a wood  with  a half-peeled  orange  in  her  lap.  Upon 
her  right  is  an  object  not  indicated  in  the  sketch — a rabbit  seated  at  the  entrance  of  its 
burrow,  the  timid  animal  apparently  not  at  all  frightened  at  her  little  ladyship.  The  origi- 
nal is  remarkable  for  pretty  expression  and  childish  character ; the  scheme  of  color  blue, 
orange,  and  black. 

No.  329,  “Dog-Days"  by  R.  W.  Macbeth,  A.  R.  A.  Two  young  ladies  seated  at  table, 
and  apparently  wholly  free  from  fear  of  that  terrible  bugbear,  “ hydrophobia,”  for  the  name 


mm,,, 'Aatmimunn  :ii|iiiiiiiiii"- . JBga  \ \\\\ \ 

'mm  ! ''»■  d 

'flu  'iiilui/H  •1//1111UH1J1  ,ifi i)  <•  •, n-K.i m,.  »i,.  ui ■ ’ 


No.  196.  “ A Bible- Lesson."  Mrs.  Alma-Tadema. 


of  their  canine  favorites  arranged  before  them  is  legion.  The  artist’s  sketch  indicates  the 
central  group.  We  have  spoken  of  Mr.  Macbeth’s  art  elsewhere. 

No.  447,  “ The  Rialto  Market ,”  by  Henry  Woods,  A.  R.  A.  This  artist,  who  is  brother- 
in-law  to  Luke  Fildes,  A.  R.  A.,  :s  one  of  that  little  coterie,  Van  Haanen,  De  Blaas,  Logs- 


The  Institute  of  Painters  in  Oil-  Colors. 


179 


dail,  and  a few  others,  who  have  taken  up  their  residence  in  Venice,  where  they  appear  to 
be  founding  what  may  be  considered  a new  modern  school  of  art.  As  far  as  Mr.  Woods 
is  concerned,  the  Venetian  scenes,  which  he  is  constantly  reproducing,  are  really  Venice  of 


No.  6ll.  “ Klea.”  Edwin  Long,  R.  A. 


the  present  day — Venice  in  all  her  brightness  and  beauty,  painted  in  a conscientious  spirit, 
and  with  the  thoroughness  and  skill  which  have  earned  for  him  a reputation  in  a few  years, 
and  his  election  to  the  rank  of  an  Associate  of  the  Academy.  In  the  ‘ Rialto  Market ,”  the 
girl  seated  on  the  right  is  just  one  of  dozens  of  such  figures  one  sees  daily  in  the  city;  and 


English  Art  in  1884. 


1 80 


the  bridge  itself,  the  awning  over  the  figure  of  the  girl,  etc.,  are  photographically  accurate. 
It  will  be  seen  at  once  by  the  sketch  what  a chance  for  a painter  there  is  here,  in  sunny 


No.  329.  “Dog-Days."  R.  W.  Macbeth,  A.  R.  A.,  R.  I.,  M. 


The  Institute  of  Painters  in  Oil-  Colors. 


181 


effects  and  variety  of  rich  colors.  No  wonder  English  artists  linger  in  Venice,  painting 
subjects  of  which  the  art-world  seems  never  to  have  enough  ! 

No.  227,  “ Caterpillars ,”  by  E.  J.  Gregory,  A.  R.  A.  This  study  is  principally  an  exercise 
in  color,  as  we  observe  in  the  little  girl’s  red  velvet  frock,  the  brick  wall,  and  in  the  vari- 
ous shades  of  leafage,  in  which  the  young  lady  is  industriously  engaged  catching  caterpillars. 


No.  447*  “ The  Rialto  Market."  H.  Woods,  A.  R.  A. 


A trivial  subject  and  without  much  grace,  but  the  touch  of  genius  is  here,  as  in  all  of  Mr. 
Gregory’s  work.  The  natural  attitude  of  the  child  is  expressed  exactly  in  the  artist’s 
sketch. 

The  next  two  clever  genre  pictures  indicate  a style  of  art  much  in  repute  at  the  gal- 
leries of  the  Institute:  the  first,  No.  152,  “ The  Pride  of  her  Heart''  by  Hugh  Cameron, 
a young  mother  delightedly  playing  with  her  little  son  upon  her  lap;  and  No.  749,  “A 
Portrait by  E.  Lintz — a capital  picture  of  a little  girl  seated  upon  a chair,  holding  a 
dreadfully  fat,  over-pampered  pug-dog  on  her  lap.  It  may  be  hard  to  say  which  of  the  pair 
is  the  “ Portrait"  alluded  to  in  the  title  of  the  work,  but  one  is  quite  sure  which  portrait 
will  be  preferred. 


iimm 


182 


English  Art  in  1884 


No.  227.  “ Caterpillars."  E.  J.  Gregory,  A.  R.  A.,  R.  I.,  M. 


Jo.  152.  ''''The  Pride  of  her  Heart." 

Hugh  Cameron,  M. 


No.  749-  A Portrait." 
E.  Lintz. 


The  Institute  of  Painters  in  OH-  Colors. 


i83 


No.  672,  “ In  the  Nick  of  Time]'  by  R.  C.  VVoodville.  Our  illustration  gives  the  princi- 
pal figure  in  one  of  this  artist’s  usually  stirring  vvar-suhjects.  It  is  an  incident  in  the  recent 
Egyptian  war.  Some  of  Arabi’s  soldiers  have  laid  a train  to  blow  up  a bridge  by  which 
the  communications  of  the  army  were  maintained,  and,  while  just  in  the  act  of  putting  a 
fuse  to  the  powder,  they  are  disturbed  by  a patrol  of  troopers,  who,  galloping  down  to  the 


No.  672.  “In  the  Nick  of  Time."  R.  C.  VVoodville,  R.  I.,  M. 


spot,  discover  the  enemy  in  the  act.  The  saber  makes  short  work  of  the  offenders,  who 
attempt  to  flee  in  different  directions,  some  boldly  taking  to  the  river  with  their  horses, 
while  one  man  still  persists  in  his  attempt  to  fire  the  train,  and  the  trooper  in  the  sketch 
is  defeating  the  effort.  There  is  always  plenty  of  dash  and  “go”  in  Mr.  Woodville’s  work, 
and  lovers  of  military  incidents  will  be  delighted  with  this  spirited  sketch. 


184 


Engiish  Art  in  1884 


No.  122,  “ The  Daylight  dies','  by  Alfred  Parsons.  As  is  the  case  with  much  of  this 
artist’s  work,  his  picture  here  is  a poem.  The  subject  is  simple  enough— a river  with  sedgy 
banks,  a peep  of  meadows,  and  a few  trees  and  shrubs,  but  the  scene  is  lighted  with  that 


No.  122.  “ The  Daylight  dies.”  Alfred  Parsons,  R.  I.,  M. 


mystical,  half-defined  light  which  just  precedes  the  time  when  the  setting  sun  leaves  Nature 
to  the  reign  of  another  luminary,  and  to  the  darkness  which  is  in  harmony  with  the  idea 
of  rest.  We  really  know  of  no  landscape-painter  who  more  faithfully  or  fully  interprets 


FRIENDLY  ADVANCES. 
J.  P.  Beadle. 


The  Institute  of  Painters  in  Oil-  Colors. 


185 


Nature  in  her  various  times  and  moods  than  Mr.  Parsons.  He  ignores,  as  in  the  work  we 
are  referring  to,  all  attempts  at  dramatic  display  or  picture-making,  and,  with  the  simple 
purpose  of  realizing  Nature  in  the  mood  in  which  she  is  presenting  herself  to  his  mind,  he 
transfers  with  peculiar  power  that  mental  vision  to  canvas.  There  is  no  need  of  Mr. 
Abbey’s  figures  to  aid  the  sentiment  of  this  picture. 


No.  508.  “ The  Window-Seat."  Francis  D.  Millet. 


Another  artist,  perhaps  better  known  in  America  than  in  England,  is  Francis  D.  Millet. 
“ The  Window-Seat ” (No.  508)  is  rich  in  the  charm  of  light  and  graceful  movement.  It  is 
almost  the  invariable  rule  that  an  artist  is  in  after-life  influenced  by  the  art  of  his  master ; 
but  this  is  not  so  with  Mr.  Millet,  who  is  certainly  original  in  his  method  of  work.  In 


24 


i86 


English  Art  in  1884 


the  picture  vve  are  commenting  upon,  one  finds  no  trace  of  the  manner  of  either  De 
Keyser  or  Van  Lerins,  and  there  is  something  peculiarly  happy  in  the  thought  of  this  fair 


No.  26i„  “A  Yorkshire  Fisher-Girl."  W.  Small. 


young  figure  seated,  bathed  in  sunshine,  as  she  plies  needle  and  thread.  There  is  a style 
about  this  picture  which  the  artist  has  made  his  own. 

One  of  the  most  able  draughtsmen  in  England,  one  whose  work  is  too  seldom  seen  on 
canvas,  is  Mr,  William  Small.  In  1876  he  made  an  impression  by  a large  and  powerful 


The  Institute  of  Painters  in  Oil-Colors . 


187 


figure-picture  entitled  “ The  Wreck''  sent  to  the  Royal  Academy.  Since  that  time  he  has 
exhibited  smaller  paintings,  generally  of  sea-coast  scenes,  but  is  best  known  by  his  numerous 
illustrations  on  wood.  Like  his  contemporaries,  Charles  Green,  F.  Barnard,  and  E.  A. 
Abbey,  his  time  is  nearly  all  taken  up  with  drawings  in  black-and-white.  No.  261,  “A 
Yorkshire  Fisher-Girl','  a study  of  a north-country  lassie  with  a basket  of  fish  balanced  on 
her  head,  knitting  as  she  goes,  is  as  bright,  fresh,  and  airy  as  anything  from  his  hand,  but 
the  exigencies  of  book-illustration  in  England  take  from  us  probably  many  good  painters, 
such  as  Mr.  Small  and  Mr.  Randolph  Caldecott. 

No.  375,  “ The  Humming-Top','  by  Joseph  Clark.  Two  cottage  children  watching  a top 
spin.  The  artist  here  exhibits,  as  usual,  much  insight  of  childish  character.  This  little  pict- 


No.  375*  “ The  Humming-Top .”  J.  Clark,  M, 


ure,  like  Mr.  Clark’s  former  works,  “ The  Bird's  Nest''  “ The  Empty  Cradle','  and  “ The 
Sick  Child','  is  treated  with  feeling  and  skill,  redeeming  the  subjects  from  any  charge  of 
puerility.  Thus  M.  Edouard  Frere  has  painted  in  France  for  forty  years. 

No.  532,  “Mrs.  Betsy  Criddle's  School','  by  Frederick  G.  Cotman.  A dame’s  school, 
with  the  old  schoolmistress  teaching  a little  boy  his  letters.  There  is  always  something 
suggestive  when  old  and  young  are  brought  together,  and  never  more  so  than  when  obey- 
ing a first  principle  of  nature,  such  as  age  imparting  instruction  to  youth.  Mr.  Cotman’s 
design  is  distinguished  for  unity  of  purpose,  and  for  a realization  of  character  that  is  both 
interesting  and  impressive. 


i88 


English  Art  in  1884.. 


No.  187,  "She  loved  him  for  the  Perils  he  had  passed','  by  Charles  J.  Staniland.  Stories 
of  dangers  by  flood  and  field  have  always  been  dear  to  maiden  heart ; and  the  tall  soldier 
seated  on  the  window-sill,  recounting  his  adventures  to  the  comely  but  rather  Puritan-look- 
ing lass  before  him,  gives  point  to  his  history  in  that  he  himself  is  wounded.  A stray 
bullet  or  well-aimed  sword-cut  has  injured  his  right  arm,  so  that  his  account  of  bloody 
fights  and  hair-breadth  escapes  has  illustration  in  his  own  maimed  person.  The  subject,  it 


No.  532.  “ Mrs . Betsy  Criddle's  School.'’'  F.  G.  Cotman,  R.  I.,  M. 


is  true,  is  but  a love-story  ; still,  it  is  love  founded  on  admiration  of  courage  and  acts  of 
personal  valor,  qualities  which  should  have  some  weight  as  an  assurance  of  future  happiness 
for  the  young  couple. 

The  four  pictures  sketched  on  page  190  are  by  skilled  artists.  Mr.  Ernest  Crofts  is  a 
battle-painter,  lately  elected  to  the  rank  of  Associate  of  the  Academy.  No.  251,  “ The  Old 
Home','  by  G.  G.  Kilburne,  pictures  some  wanderer  in  the  rough  ways  of  life,  who,  carrying 
her  sorrow  huddled  up  in  her  shawl,  returns  in  the  winter  snows,  to  peep  in  at  the  warmly- 
lighted  rooms  of  the  old  home.  No.  687,  “ Cromwell  at  Bootham  Bar','  by  Ernest  Crofts, 
A.  R.  A.  The  Protector,  with  a knight  and  armed  train,  filing  from  the  castle.  No.  479, 
Taken  to  the  Road','  by  Charles  Cattermole.  A study  of  a young  man,  mounted  on  a 


The  Institute  of  Painters  in  Oil-  Colors. 


189 


useful-looking  hack,  who,  whether  from  folly,  fate,  or  misfortune,  has  betaken  himself  to 
the  disgraceful  life  of  a highwayman.  No.  714,  “For  whom,  and  from  whom?"  by  Haynes 
Williams.  A highly-finished  sketch  of  the  cavalier  in  the  artist’s  picture  of  this  subject. 


No.  187.  “ She  loved  him  for  the  Perils  he  had  passed .”  C.  J.  Staniland,  R.  I.,  M. 


No.  178,  “ The  Marsh-Kings  Daughter ,”  by  John  Scott.  The  artist,  who  is  fond  of 
the  mysticism  of  legendary  lore,  has  here  another  illustration  of  the  subject  he  exhibited  in 
the  Royal  Academy.  The  incident  is  taken  from  one  of  Hans  Andersen’s  charming  fairy- 
tales. The  stork  recounts  the  scene:  “This  evening,”  he  says,  “I  went  among  the  rushes, 
and  while  I was  there  three  swans  came ; one  of  them  threw  off  her  plumage,  and  I 
immediately  recognized  her  as  one  of  the  princesses  of  our  home  in  Egypt.  There  she  sat 


190 


English  Art  in  1884. 


No.  251.  “The  Old  Home."  No.  687.  “Cromwell  at  Bootham  Bar.” 

G.  G.  Kilburne,  R.  I.,  M.  Ernest  Crofts,  A.  R.  A. 


No.  479.  “ Taken  to  the  Road.”  No.  *]lt[.  “ For  whom , and  from  whom  2” 

Charles  Cattermole,  R.  I.,  M.  Haynes  Williams,  M. 


The  Institute  of  Painters  in  Oil-  Colors . 


191 


without  any  covering  but  her  long  black  hair.  The  two  swans  rose  up  with  her  plumage.” 
Mr.  Scott  represents  the  marsh-king’s  daughter  seated,  with  a regal  air,  upon  the  roots  of 
a tree,  below  her  a pool  covered  with  water-lilies,  and  at  her  side  the  curious,  councilor-like- 
looking  birds. 

No.  197,  “ Highland  Eagles  and  Red-Deer  Calf l'  by  Samuel  Carter.  Since  the  death 
of  Sir  Edwin  Landseer,  Mr.  Carter  has  certainly  proved  himself  to  be  one  of  our  best 


painters  of  deer.  Keeping  these  animals  constantly  about  him  at  his  own  home,  he  is 
enabled  to  study  closely  their  habits  and  daily  life.  The  subject  of  our  illustration  tells  its 


192 


English  Art  in  1884. 


own  story.  By  some  mischance  a young  deer  has,  all  untimely,  met  with  death.  It  may 
have  slipped  and  fallen  from  some  mountain-height ; or,  it  may  be  possible  that 

“.  . . a shot,  at  random  sent, 

Found  mark  the  archer  little  meant  ” ; 

but,  be  that  as  it  may,  the  graceful  animal  now  forms  a prey  for  that  king  of  birds,  the 
eagle.  Two  of  these  birds  have  swooped  down  from  their  lofty  flight,  and  wait  but  a 
moment  ere  they  commence  their  meal.  Not  only  has  Mr.  Carter  pictured  with  power  the 
birds  and  animal,  but  one  feels  also  a sense  of  the  desolate  grandeur  of  the  mountain- 
heights. 


No.  197.  “ Highland  Eagles  atid  Red-Deer  Calf.”  Samuel  Carter,  M. 


THE  WATER-COLOR  SOCIETIES; 


The  art  of  water-color  painting  is  essentially  of  English  practice,  but  it  is  not,  as  many 
people  suppose  it  to  be,  of  English  origin.  Few,  indeed,  have  been  the  arts  that  have 
leaped  complete  into  life.  Generally  the  development  has  been  gradual,  and  the  progress 
slow.  And  this  has  been  the  case  with  water-color.  It  was  practiced,  tentatively,  even  as 
long  ago  as  in  the  day  of  Albert  Dtirer.  It  was  brought  in  a measure  to  perfection  in  the 

seventeenth  century  in  Holland,  but  the  method  of  its 
employment  there  was  limited.  It  was  used  chiefly, 
and  used  beautifully,  in  the  rare  drawings  by  Adrian 
van  Ostade  and  Cornelius  Dusart,  which  record  a vul- 
gar life  with  delicate  brush.  And  the  French  gouache 
of  the  eighteenth  century— the  gouache  of  Baudouin 
and  Lavreince — has  something  in  common  with  the 


English  art  of  water-color  which  was  practiced  con- 
temporaneously with  it.  These  things  it  is  fair  to 
recall  and  chronicle,  though  the  mention  of  them 
detracts  in  no  wise  from  the  merit  of  the  English 
school.  For,  after  all,  however  important  be  the  lan- 
guage of  an  art,  far  more  important  is  the  message 
which  sooner  or  later  that  language  is  trusted  to  de- 
liver. And,  if  the  formation  of  the  language  of  water- 
color  is  in  truth  but  in  part  ours,  its  message  is  wholly 
our  own.  It  is  as  practiced  by  the  greater  English 
masters — by  Turner,  by  Girtin,  by  Cotman,  by  David 


No.  228.  “Is  the  Change  right  V 
E.  Buckman. 


* The  sketches  interspersed  over  the  following  pages  will  serve  to  remind  the  reader  of  some  water-color  artists,  of  whom 
it  has  been  impossible  to  speak  in  this  year’s  English  art.  On  the  other  hand,  some  important  paintings  are  mentioned, 
and  not  sketched,  it  being  impossible  to  render  the  effects  of  some  water-colors  in  a sketch  in  black  and  white  in  line. — Ed. 


25 


194- 


English  Art  in  1884. 


Cox,  by  Devvint — that  water-color  has  contributed  so  much  to  the  pleasures  of  the  draw- 
ing-room and  the  picture-gallery,  and  has  furthered  and  widened  our  interest  in  the  world 
of  nature. 

In  England,  too,  as  elsewhere  beforehand,  the  beginnings  were  tentative  and  timid;  hut 
in  England  the  result  was  to  be  a success,  not  only  assured,  hut  of  long  duration  and  of 
wide  extent. 


No.  194.  “ The  Sisters."  E.  K.  Johnson. 


It  is  said  that  the  demand,  early  or  in  the  middle  of  the  eighteenth  century,  among  us 
for  views  of  English  castles,  country-houses,  and  cathedral  towns,  stimulated  our  practice  of 
water-color.  Capable  draughtsmen  visited  town  after  town,  country-seat  after  country-seat, 
and  to  the  accurate  work  of  the  - pencil  added  washes  of  color.  The  color  at  first  was 


The  Water  - Color  Societies. 


l9  5 


hardly  more  than  neutral  tint.  Local  hues  were  at  first  avoided.  But  gradually  they  crept 
in  ; and  presently,  too,  the  impression  of  atmospheric  effect — the  changes  of  the  light  and 
air — came  to  be  added  to  the  record  of  permanent  form.  Thus  did  pure  topographical  art 
give  place  to  art  proper.  Thus  was  Sandby  succeeded  by  Turner.  Marlow  by  Girtin. 


No.  88.  '''’The  Morning  Chat:  on  the  Seme , Paris."  Basil  Bradley. 


At  last  English  water-color  art  was  so  far  developed  that  its  practitioners — very  few  of 
whom  were  likewise  painters  in  oil — resolved  and  were  able  to  found  a society  which  should 
invite  the  public  to  annual  exhibitions.  And  thus,  in  the  year  1805,  there  came  to  be 
established  that  Society  of  Painters  in  Water-Colors  which  continues  to  this  day  its  honor- 
able or  respectable  career.  To  it,  almost  at  the  beginning,  belonged  John  Varley,  an  artist 
always  learned  and  at  first  simple.  He  did  much  for  the  development  of  the  art.  To  it 
belonged,  before  the  society  had  existed  many  years,  painters  as  different  and  as  eminent  as 
Prout  and  William  Hunt.  And  in  1818  there  was  experienced  the  need  of  a second  soci- 
ety, and  thereupon  what  was  then  called  the  “ new  ” society  came  to  be  founded.  That 
society  is  now  the  “ Institute,”  and  of  it  and  of  its  exhibition  I shall  speak  further  on.  We 
will  first,  however,  visit  the  older  gallery  in  Pall  Mall  East.  Upon  both  bodies  royal  favor, 
as  well  as  popular  appreciation,  has  been  bestowed.  They  are,  of  late,  the  “Royal”  Society 
and  the  “Royal”  Institute. 


196 


English  Art  in  1884. 


The  Royal  Society  of  Painters  in  Water-Colors  is  presided  over  by  the  veteran  artist, 
Sir  John  Gilbert,  whose  one  contribution  this  year  is  sketched  by  himself  in  this  work. 

This  exhibition  is  held  in  a single  convenient  gallery,  approached  by  entrance  through 
the  pretty  stone  frontage  designed  by  the  late  Mr.  Cockerell.  It  is  confessedly  a close 
body  : that  is,  to  its  recurrent  shows  none  but  members  and  associates  may  contribute.  It 
has  thirty-five  members  and  about  as  many  associates.  The  members  govern  the  whole 
action  of  the  society  ; the  associates  are  in  a sense  probationers ; from  their  ranks  members 
are  chosen,  and,  until  an  associate  becomes  a member,  his  function  is  but  to  exhibit.  Then, 
of  course,  there  are  a few  honorary  members,  of  whom  Mr.  Ruskin  is  one.  And  Mr.  Ruskin 
sometimes  annoys  the  over-sensitive  critic  by  the  exhibition  of  that  which  the  critic  is  sorry 
to  see;  and  sometimes  Mr.  Ruskin  delights  alike  the  critic,  the  artists,  and  the  cultivated 
public  by  the  exhibition  of  an  architectural  study  wrought  with  singular  refinement  of  hand, 
in  obedience  to  the  dictates  of  a delicate  and  a subtly  observant  eye.  But  of  course  it  is 


not  upon  the  honorary  members  that  there  falls  the  heavy  business  of  assuring  the  main 
interest  of  the  show.  Certain  of  the  elder  regular  members  have  long  been  able  to  take 
that  burden  on  their  shoulders  with  fair  chance  of  success.  There  is  George  Fripp,  for 
instance;  there  is  Alfred  Hunt;  there  is  G.  P.  Boyce;  and  there  is  Carl  Haag.  Still,  it  has 
to  be  allowed  that  at  least  one  or  two  of  these  gentlemen — all  of  whom  have  reached,  and 


The  Water  - Color  Societies. 


*97 


some  of  whom  have  passed,  late  middle  life — have  waxed  a little  indolent  or  a little  weary. 
Mr.  Boyce,  whose  drawings  of  old  buildings  (notably  one  called  “ Where  Bridewell  stood,” 
exhibited  many  years  ago)  gave  him  a great  and  deserved  reputation,  puts  in  an  appearance 
— or  at  all  events  a prominent  appearance — but  rarely. 

Of  the  men  I have  thus  far  named,  Carl  Haag  is,  at  this  moment,  the  surest  pillar  of 
the  house.  He  is,  as  his  name  implies,  by  birth  a German,  but  he  came  to  England  now 


No.  109.  “ Silk  and  Calico  Bazaar,  Cairo.”  E.  A.  Goodall. 


very  many  vears  ago,  loving  the  country  and  loving  its  practice  of  water -color.  He  is 
Hofmaler  to  the  Duke  of  Saxe-Coburg  and  Gotha,  and  a deserved  favorite  of  English 
royalty.  He  exhibited  in  Pall  Mall  the  records  of  his  travels  in  the  East.  He  had 
explored  Egypt  before  Gerome.  He  had  followed  in  the  steps  of  William  Muller,  an  artist 
of  extraordinary  vigor,  especially  in  landscape.  But  Carl  Haag  is  a more  elaborate  painter 
and  a finer  draughtsman  of  the  human  frame  than  Muller  ever  was.  And  he  has  never 
been  seen  in  greater  perfection  than  in  the  exhibition  of  1884.  His  chief  work  is  his  most 


198 


English  Art  in  1884. 


realistic  vision  of  one  stage  of  the  long  journey  which  the  faithful  Eliezer  took  with 
Rebecca  when  he  brought  her  on  a camel’s  back  to  be  the  bride  of  Isaac.  Eliezer  has 
been  a successful  man.  He  marches  solidly  along,  full  of  the  consciousness  of  Abraham’s 
approval  when  he  reaches  home.  And  the  young  woman — those  gold  coins  pendent  above 
the  forehead  (they  are  the  "engaged  ring”  of  Eastern  society,  Mr.  Haag  tells  me,  the  coins 


No.  47.  “ But  the  Word  of  the  Lord  endureth  forever."  R.  Barnes. 


that  mark  her  betrothal)  jingle  pleasantly  in  her  ears,  and  she  knows  that  she  is  not  likely 
to  be  disappointing.  Never  did  camel  step  so  delicately,  yet  with  proper  pride  in  the  triumph 
he  shares ; never  were  Eastern  textures  and  gay  trappings  richer  or  more  rare. 

Mr.  Alfred  Hunt  deserves  mention  next,  I think,  and  not  because  he  is  an  Oxford 
man  of  mark,  a scholar,  a philosophical  Liberal,  interested  genuinely  in  politics  and  social 
progress,  a member  of  the  Athenaeum  Club.  All  that  must  be  very  interesting  and  satis- 
factory to  Mr.  Hunt  and  his  friends,  but  it  has  little  bearing  on  his  work  as  an  artist.  As 
an  artist  he  has  studied  two  things — not  necessarily  incompatible.  He  has  studied  nature 
and  Turner.  He  is  Turner’s  disciple.  Rarely  does  he  produce  a single  delicate  drawing 
which  does  not  display  the  influence  to  which  he  has  mainly  leaned.  No  one  is  more 
industrious,  no  one  more  patient,  no  one  more  enamored  of  the  beauty  of  his  subjects  or 
more  aware  of  their  inevitable  difficulties.  Alfred  Hunt  is  perhaps,  above  all  things,  a painter 


The  Water  - Color  Societies . 


x99 


of  atmosphere.  In  this  year’s  exhibition,  his  “Deserted  River-Bed"  portrayed,  indeed,  no 
land  of  exceptional  charm,  but  a sky  crowded  with  interest,  and  dealt  with  by  the  hand  of 
a poet. 

Mr.  Albert  Goodwin,  a younger  artist,  but  a worker  in  the  same  field,  is  one  of  the 
most  rising  members  of  the  Royal  Society.  He  is  one  of  those  men  to  whose  work  we 
look  first  for  the  charm  of  originality,  freshness — poetry  combined  with  power.  He  is  faulty 
— sometimes  apt  to  be  exaggerated  in  the  rendering  of  effects  that  stir  him — but  he  is 
almost  always  impressive.  The  seaboard  town  of  Whitby,  which  Mr.  Hunt  has  painted  so 
often  with  exquisite  refinement,  Mr.  Goodwin  painted  last  year  with  extraordinary  vigor.  Mr. 
Hunt  achieved  subtiltv  and  the  rendering  of  many  facts;  Mr.  Goodwin’s  was  the  more 
direct  and  decisive  record  of  a prompt  vision.  And  this  year  his  “Sunset  in  the  Manufact- 
uring Districts"  is  as  fine  as  his  “ Whitby ” and  as  fine  as  his  “Last  of  the  Armada — the 


No.  28.  “ Fighting  the  Sea  : Yarmouth  Tug  saving  a Dismasted  Fishing- Smack."  Oswald  W.  Brierly. 


skeleton  of  the  last  ship,  the  bare  ribs  on  the  wild  coast.  Poetry  of  a grim  and  potent  and 
portentous  sort  is  in  this  “Sunset  in  the  Manufacttiring  Districts'.'  Before  us  lies  the 
desolate,  spoiled  country  that  a feebler  artist  would  avoid,  because  it  has  lost  its  prettiness; 
that  the  more  vigorous  artist  would  enjoy,  because  it  has  gained  its  sentiment  and  its 
experience.  A deserted  house,  the  ruin  of  a modern  builder,  is  quite  in  the  foreground,  and 


200 


English  Art  in  1884. 


waste  land  that  was  country  once  and  is  hardly  yet  town.  “The  grass  grows  scant  as  hair 
in  leprosy,”  writes  Mr.  Browning  of  some  such  place.  Beyond  lie  the  houses  closely  packed, 
and  the  smoky  steamers  of  a tidal  river ; then  the  flats,  and  then  perhaps  the  sea.  But 
over  all  this,  which  is  so  sordid  and  squalid  and  yet  so  pathetic  besides,  the  weird  drama 
of  sunset  is  enacted  in  the  sky.  Great  wreaths  of  cloud,  strange  in  color  and  savage  and 


No.  95.  UA  Dorsetshire  Stream."  Wilmot  Pilsbury. 


threatening  in  form,  are  dragged  over  the  placidness  of  the  upper  heavens.  A fine  imagina- 
tion dictated  this  work,  and  dictated  it  with  all  the  more  of  clearness  and  of  force  because 
its  subject  was  of  no  remote  origin,  but  was  found  at  our  very  doors,  in  the  work-a-day 
England  which  we  know. 

Mr.  Herbert  Marshall— with  his  “ From  Hyde  Park  Corner , looking  west ,”  and  his 
“ And  all  that  Mighty  Heart  is  lying  still" — is  likewise  a painter  of  the  modern  world, 
of  modern  cities.  And  so  sometimes  is  Mr.  Hale.  And  Mr.  Hale  is  truly  refined. 
His  observation  is  subtile  ; it  is  not  mechanical  and  photographic.  I can  not  myself 
assign  to  Mr.  Marshall  quite  so  high  a place.  Still,  the  “ From  Hyde  Park  Corner , 
looking  west"  is  undoubtedly  striking.  I wish  only  that  the  painter’s  vision  of  the  mod- 
ern world,  to  which  he  wisely  betakes  himself,  were  in  itself  more  artistic.  He  paints  skill- 
fully what  he  sees,  but  he  sees  too  much  what  everybody  sees.  An  artist  of  mark  must 
be  fresh. 


The  Water  -Color  Societies 


201 


Now,  Mr.  Thorne  Waite — another  of  the  younger  men — brings  a certain  amount  of 
freshness  to  the  treatment  of  themes  in  the  original  choice  of  which  he  had  doubtless  felt 
the  influence  of  Dewint.  Mr.  Thorne  Waite’s  “ Loiterers ” is  by  no  means  the  largest,  but 
it  is  assuredly  the  most  perfect  and  most  harmonious  drawing  in  the  exhibition.  If,  like  a 
new  associate,  Mr.  Pilsbury,  Mr.  Waite  here  recalls  Mr.  Birket  Foster — that  veteran  minia- 
turist in  water-color,  who  is  still  almost  a leading  man  in  the  Royal  Society — it  is  but  for 
a moment.  Generally  Mr.  Waite  is  either  wholly  original  or  wholly  a follower  of  Dewint; 
and,  like  Dewint,  he  paints  the  English  lowlands,  or,  like  Hine  of  the  Institute,  the  Downs 
of  Sussex. 

Another  painter  of  pure  landscape  should  perhaps  be  mentioned  here,  before  we  pass 
on  to  those  who  paint  chiefly  the  shore  and  sea,  or  chiefly  the  figure,  draped  or  undraped, 
and  that  is  Mr.  J.  W.  North.  He  is,  perhaps,  our  most  delicate  painter  of  delicate  foliage 


No.  40.  “ Clearing  the  Wreck:  Tide  rising.”  R.  Beavis. 


— and  of  the  play  of  atmosphere  upon  it,  in  limited  spaces — and  “My  Garden  Hedge , my 
Orchard  Fence  ” (a  study  of  nasturtium  and  apples)  is  certainly  a quite  lovely  rendering  of 
a tangle  of  greenery  and  full-colored  blossom. 

Miss  Clara  Montalba’s  “ Souvenir  of  Middelburg  ” — golden  and  red — reminds  us  that  she, 
who  is  perhaps  the  most  gifted  member  of  an  unquestionably  gifted  family,  is,  in  a sense,  a 


26 


202 


English  Art  in  1884. 


painter  of  landscape.  But  it  is  the  waters,  and  especially  the  Venetian  waters,  and  the  wide 
sky  that  is  seen  from  the  gondola  shooting  over  the  lagoon,  that  is  her  proper  province, 
and  so  Miss  Montalba  may  be  fairly  mentioned  now  that  we  have  come  among  the  paint- 
ers of  the  coast  and  sea.  The  essential  quality  of  her  work  is  perhaps  the  quality  of  spirit- 


No.  140.  “ The  Deserter."  Charles  Gregory. 


edness.  It  is  so  far  vigorous  that  it  is  almost  masculine;  nay,  it  may  be  pronounced  mascu- 
line without  any  qualification  of  the  word.  But  it  is  a little  wont  to  be  sketchy,  not  alone 
in  touch  but  likewise  in  conception.  Its  composition  is  sometimes  incomplete,  and  it  is 
never  intricate.  Still,  it  is  remarkable  work,  so  vivid,  fresh,  and  free.  Unity  of  impression 
is  at  all  events  never  sacrificed  in  it  to  the  accumulation  of  detail. 

Among  the  most  notable  painters  of  coast  and  ship  and  sea  are  Mr.  Henry  Moore,  Mr. 
Powell,  and  Mr.  Oswald  Brierlv.  Mr.  Brierly  is  essentially  a draughtsman  of  all  the  detail 
of  ships,  a naval  rather  than  a true  marine  painter,  and  bold  rather  than  subtile  or  various. 
Henry  Moore  is  devoted  to  the  record  of  the  waves  as  they  beat  upon  the  shore.  He  is 
an  artist  more  careful  to  preserve  refinement  than  to  display  strength.  He  is  various,  but 
most  interesting  to  us  when  he  betakes  himself  to  the  Mediterranean  blue.  Mr.  Powell, 
whose  large  drawing  of  waves  and  sky  occupied  one  of  the  places  of  honor  in  this  gallery, 
has  for  years  been  a great  yachting-man.  Round  the  Scottish  coasts,  where  his  home  is,  he 


The  Water  - Color  Societies. 


203 


has  been  everywhere  and  he  has  seen  everything.  And  he  has  seen  the  world  at  unusual 
hours.  He  has  caught  Nature  unawares.  He  paints  the  sea  in  days  of  endless  mist,  when 
nothing  seems  to  change,  and  when  all  is  harmonious  and  placid.  He  paints  effects  which 
before  him  have  had  no  charm  for  any  one — effects  which  escaped  not,  perhaps,  the  observa- 
tion but  certainly  the  interested  observation  of  Turner.  But  of  the  marine  painters  of  the 
day  he  is  certainly  one  of  the  most  valuable. 

It  is  generally  agreed  that  the  Society  of  Painters  in  Water-Colors  is  least  strong  in 
figure  - painters ; but  it  has  had,  and  still  has,  many  notable  men  as  members.  It  is  now 
many  years  since  young  Burne-Jones  was  practically  excluded  (the  council  of  the  year 


No.  24.  “ A Capture."  Norman  Tayler. 


declining  some  of  his  works)  ; and,  since  Sir  Frederick  Burton  seceded  in  consequence  of 
that  decision,  a little  of  the  Philistine  spirit  must  surely  have  existed  in  a society  which  could 
take  exception  to  the  refined  and  poetical  drawings  of  Mr.  Burne-Jones.  But  in  those  days 
the  landscape-painters  had  the  strongest  voice  at  the  council,  and  the  figure-painter  was  at 
a discount.  The  old  society  is  still  faithful  to  its  traditions,  but  there  is  certainly  an  increase 
in  the  encouragement  which  the  Royal  Society  affords  to  figure-painters.  The  recent  elec- 
tions of  Mr.  Albert  Moore,  Mr.  Du  Maurier,  and  Mr.  Henshall  prove  this  unmistakably. 
And  the  popularity  of  Mrs.  Allingham’s  pretty  work  is  noteworthy.  It  is  true  that  Mr. 
Du  Maurier  could  hardly  paint  a figure  when  he  was  elected,  but  he  could,  at  all  events, 


204 


English  Art  in  1884 


No.  30-  “ From  Hyde  Park  Corner , looking  west."  Herbert  M.  Marshall. 


draw  one,  And  the  society  was  right  to  give  him  welcome,  and  he  has  justified  what  I 
may  call  the  eagerness,  if  I may  not  call  it  the  prematureness,  of  his  choice.  For,  since 
then,  the  fashionable  artist  of  “ Punch  ” — the  elegant  and  piquant  draughtsman  with  pen  and 


“ The  Corn-Market,  Abbeville."  Samuel  J.  Hodson. 


The  Water  - Color  Societies . 


205 


ink — has  labored  much  at  water-color.  A certain  art  of  comedy  attends  his  performances 
generally,  but  in  this  year’s  picture,  “ The  Peacock  and  the  Nightingale ,”  the  comedy  is 
slight.  It  is  rather  a moral  tale — the  tale  of  the  triumph  of  simple  charm  over  much- 


adorned  and  self-conscious  beauty.  The  scene  is  “in  society”;  London  society  in  our  own 
day  spreading  pretty  widely,  and  the  fashionable  young  man  no  longer  bound  by  the 
restrictions  laid  upon  him  in  the  days  of  Mr.  Thackeray.  He  may  venture,  now,  “ north  of 


No.  100. 


“ The  Cid  and  the  Five  Moorish  Kings  ” ( vide  Lockhart's  “ Spanish  Bal/ads").  W.  E.  Lockhart,  R S.  A. 


206 


English  Art  in  1884. 


Oxford  Street,”  without  fear  of  losing  his  way.  This  time,  in  Mr.  Du  Maurier’s  drawing, 
he  is  quite  at  home  at  Hampstead,  four  miles  north  of  London.  I think  he  is  in  Mr.  Du 
Maurier’s  own  abode  ; for  there  is  the  manly  figure  of  a young  gentleman,  with  whom 
Mr.  Du  Maurier  is  very  intimately  connected,  and  there,  too — not  to  speak  of  the  ladies — 
is  Mr.  Henry  James,  surely;  and  there,  too,  a neighbor,  Mr.  Alfred  Ainger,  the  “reader”  at 
the  Temple.  Others,  likewise,  of  the  Hampstead  world.  All  is  graceful,  full  of  character, 
full  of  social  charm,  and  the  charm  of  simplicity  is  not  wholly  wanting. 


No.  157.  “ Signals  of  Distress."  A.  Hopkins. 


Mr.  Arthur  Hopkins’s  very  powerful  drawing,  called  “ Signals  of  Distress, ” is  a replica 
of  his  picture  exhibited  in  the  Royal  Academy  in  1879,  and  also  recalls  another  picture 
entitled  “ The  Wreck"  by  Mr.  William  Small,  in  the  Academy  in  1876.  Neither  Mr.  Small 
nor  Mr.  Hopkins  has  yet  distinguished  himself  as  a colorist,  but  both  are  most  skillful 
draughtsmen,  and  have  seized  the  dramatic  element  with  great  force.  Such  work  appeals 
powerfully  to  islanders  whose  shores  are  strewed  with  wrecks. 

What  a different  world  is  that  of  Mr.  Albert  Moore — the  world  of  vivified  Greek 
sculpture,  of  lovely  fabrics  laid  over  noble  forms,  as  the  figures  stretch  themselves  with 
splendid  insouciance  or  repose  in  a quietude  on  which  “ society  ” makes  no  claims,  and  with 


The  Water -Color  Socieites. 


207 


which  it  has  nothing  to  do!  Mr.  Albert  Moore  is  quite  fresh  to  water-color,  but  his  fresh- 
ness is  that  of  a master — his  work  has  none  of  the  heaviness  or  of  the  over-precision  which 
is  sometimes  to  be  traced  in  the  drawings  of  an  artist  in  oil  betaking  himself  for  the  first 
time  to  water-color.  He  affords  us  no  surprise,  and,  if  he  does  not  fall  below  his  habitual 
level  in  technique , it  will  hardly  be  asked  of  him  that  he  shall  rise  above  it  And,  in  sub- 
ject, too,  if  his  ideal  is  a limited  ideal  (generally  that  of  a single  female  figure  in  repose), 
it  is  yet  perfectly  attained.  Here  are  the  pretty  draperies  again,  and  the  flower-pots  in 


No.  59. 

which  the  flowers  are  ever  fresh,  and  the  young  women  who  lounge  to  right  or  to  left,  and 
are  ever  indolent  yet  ever  robust.  Of  the  imitation  of  an  every-day  nature  there  is  almost 
nothing;  but  what  an  admirable  art  supplants  the  every-day  nature  Mr.  Moore  contentedly 
banishes ! 

We  will  go  back  for  a moment  to  some  of  the  elder  painters — proficient  in  styles 
brought  to  perfection  now  many  years  ago.  There  is  Mr.  Frederick  Tayler,  for  instance, 
and  there  is  the  president,  Sir  John  Gilbert.  Mr.  Frederick  Tayler’s  treatment  of  the  figure 


208 


English  Art  in  1884. 


No.  286.  “ Ladies'  Tresses. 


F.  Smallfield, 


QUEEN  OE  THE  MAI 
H.  SCHMALZ. 


The  Water  - Color  Societies. 


209 


is  pretty  much  confined  to  the  hunting-field,  but  his  figures  in  their  association  with  the 
horses  and  the  dogs  give  us  the  quaintest  and  the  most  spirited  pictures  of  one  side  of 
English  rural  life.  Nor,  of  course,  is  Sir  John  Gilbert  exclusively  a figure-painter.  He  is 


No.  247.  “A  Street  Altar!'  L.  Alma-Tadema,  R.  A. 


skilled  in  the  art  of  placing  his  noble  troopers  or  his  ragged  camp-followers — the  van  and 
rear  of  a great  army,  chiefly  of  Puritan  and  Cavalier  times — in  the  midst  of  a savage  and 
impressive  country,  a land  of  riven  oak-tree  and  blasted  heath,  and  over  that  country  sweeps 
a wind  from  the  west.  If  the  landscape  is  a little  less  natural  than  David  Cox’s — if  it  is 


27 


2 IO 


English  Art  in  1884. 


less  truly  studied— it  sometimes,  for  awhile,  is  as  impressive.  But  this  year  Sir  John  Gilbert 
is,  perhaps,  hardly  at  his  strongest;  and  Mr.  Frederick  Tayler — well,  vivacious  as  he  is,  we 
might  have  said  before  that  he  has  long  been  a veteran. 

Hardly  among  the  elders,  yet  not  among  the  juniors,  we  must  name  Mr.  J.  D.  Watson, 
Mr.  Smallfield,  Mr.  E.  K.  Johnson,  and  Mr.  Henry  Wallis.  Mr.  J.  D.  Watson  has  been  an 
excellent  character-painter,  and  this  year  three  drawings  prove  him  to  have  lost  much  less 
of  his  art  than  there  had  lately  been  some  cause  to  fear.  I do  not  know  that  Mr.  Small- 
field’s  “ Ladies  Tresses'"  is  very  characteristic,  but  the  reproduction  here  shows  it  to  be  at 

least  decidedly  attractive.  Mr.  E.  K.  Johnson  can  be  just 
as  immediately  attractive  as  Mr.  Smallfield,  and  perchance 
he  is  more  deeply  refined.  He  is  the  painter  of  many 

that  is  prettier  than  his  blonde,  square-cheeked  damsels 
dressed  in  white.  What  more  charming,  for  instance, 
than  his  “ First  Spring  Flowers ” — the  girl  bending  over 
the  table  with  primroses?  Mr.  Wallis — whom  I some- 
how named  with  this  group — is  noticeable  not  alone  for 
the  qualities  of  color  and  of  grace  which  he  gets  into 
his  work  in  water-color,  but  also  because  he  is  quite  an 
exception  to  the  usual  rule,  by  which — at  least  from 
David  Cox’s  days  to  J.  D.  Linton’s — a painter  painting 
both  in  oil-  and  water-colors  has  generally  begun  with 
water-colors  and  taken  subsequently  to  oils.  Mr.  Wallis, 
. beginning  with  oils,  has  now  for  some  years  taken  to 
water-colors.  His  “ Death  of  Chatter  ton"  was  famous 
long  before  he  dreamed  of  being  elected  an  Associate  of 
the  Society  of  Painters  in  Water-Colors. 

Mr.  E.  J.  Poynter,  R.  A.,  and  Mr.  Edward  Radford  represent  well  enough  by  “ Psyche  ” 
and  by  “ Tympanistria  ” the  tendency  of  certain  men  of  taste  still  to  seek  classic  themes  in 
their  treatment  of  the  figure.  They  are  never  encumbered  nor  attracted  much  by  acces- 
sories. The  figure  is  their  proper  function.  Mr.  Poynter  does  not  often  depart  from  his 
legitimate  business  of  drawing  it  well,  and  Mr.  Radford  draws  it  seductively.  Mr.  Alma- 
Tadema  is  a classic  likewise,  and  in  his  “ Street  Altar"  the  sobriety  of  the  antique  street  is 
made  only  the  more  pleasantly  evident  by  the  permitted  but  limited  inroad  of  blue  skv  and 
blinding  sun.  Mr.  E.  F.  Brewtnall  is  another  figure-painter  whose  work  in  this  gallery  should 
be  mentioned. 


pretty  things  (see  sketch  on  page  194),  but  of  nothing 


No.  142.  “ Tympanistria." 

Edward  Radford. 


The  Water  - Color  Societies . 


2 I I 


Mr.  Buckman  treats  his  figure  subjects  with  humor,  if  not  precisely  with  beauty,  and  is 
a student  of  character,  a fresh  observer  of  the  every-day  world,  more  than  a great  colorist. 
“Is  the  Change  right?'"  which  is  sketched  on  the  first  page  of  this  chapter,  gives  a good 


No.  203.  “Thoughts."  J.  H.  Henshall. 


idea  of  his  style.  But  Mr.  Henshall,  with  his  large  drawing  called  “ Thoughts ,”  No.  203, 
makes  a good  display,  in  the  present  exhibition,  of  what  can  be  done  with  modern  dress  when 
it  is  seen  by  an  artistic  eye.  He  paints  a very  real  young  woman,  seated  in  a free-and-easy 
way  on  a tall  stool  in  a library.  She  is  not  very  pretty — not  prettier  than  you  ought  fairly 


2 12 


English  Art  in  1884. 


to  be  when  a girl  is  seventeen,  and  has  nothing  to  trouble  her — but  he  has  taken  careful 

note  of  her  points,  and  he  spares  us  no  engaging  turn  of  the  arm,  no  line  that  can  be 

caught  in  the  flow  of  the  shapely  figure.  A poorer  painter  would  have  made  the  thing 
meretricious.  Mr.  Henshall  has  so  much  enjoyed  the  flexibility  of  the  model,  the  opportu- 
nity she  has  afforded  him  for  the  tracing  of  a subtile  contour,  and  the  play  of  light  and 

shade  about  her  dress,  that  the  consequent  excellence  of  his  workmanship  has  given  the 
picture  dignity.  It  is  exactly  the  kind  of  work  that  is  certain  to  appear  vulgar  and  com- 
monplace to  spectators  on  whom  the  Fates  have  not  bestowed  the  power  to  observe,  but 
in  truth  it  addresses  itself  with  dexterity  to  some  of  the  most  difficult  and  some  of  the 
most  pressing  of  the  problems  of  art. 


Some  sixty  years  ago  there  was  founded  the  second  English  Water-Color  Society — the 
“new  society,"  or,  as  it  is  now  called,  the  Royal  Institute.  It  was  for  many  years  distinctly 
inferior  to  the  elder  body,  and,  under  various  vicissitudes  of  fortune,  it  occupied,  until  a 
year  or  two  since,  a somewhat  undignified,  not  to  say  tunnel-like,  gallery,  opposite  Marlbor- 


N°.  550.  “ A Thrilling  Dra?nal'  William  L.  Thomas,  R.  I. 


ough  House.  Of  late,  however,  its  affairs  have  been  administered  by  able  and  spirited  men, 
so  :hat  in  the  last  days  in  the  old  gallery  one  was  certain  to  see  an  interesting  exhibition 
representing  the  most  modern  side  of  English  water-color,  and  especially  rich  in  drawings  of 


The  Water  - Color  Societies. 


213 


the  figure.  And  the  spirit  of  its  administration  has  been  as  modern  as  the  style  of  its  work. 
It  conferred,  a few  years  since,  upon  the  whole  of  its  associates  the  full  privileges  of  mem- 
bership— including,  I believe,  for  a while,  the  privilege  of  paying  for  its  support.  For  the 
Institute  was  a good  deal  deserted  of  the  public.  Its  best  artists  could  always  sell  their 


pictures,  but  they  could  sell  better,  perhaps,  in  their  studios  than  in  their  gallery.  The 
popular  shilling  tinkled  with  rarity  into  the  money-box.  It  was  time  that  something  was 
done.  The  members  of  the  Institute  were  men  of  initiative.  They  devised  a scheme  by 
aid  of  which  long  life,  as  a corporate  body,  could  be  guaranteed  them,  and  a service  ren- 
dered to  the  art  of  water-color.  The  funds  were  forthcoming  with  which  to  build  a sump- 
tuous gallery  in  Piccadilly.  Space,  it  was  decided,  should  be  allotted  with  a liberal  hand  to 
outsiders ; and,  moreover,  the  number  of  members,  whose  works  were  shown  inevitably, 


English  Art  in  1884. 


2 14 


should  be  appreciably  increased.  This  has  been  done  with  success,  and  the  present  year 
witnessed  the  second  exhibition  of  the  new  “ Royal  Institute,”  in  the  palatial  yet  appro- 
priate abode  designed  by  Mr.  Robson,  the  distinguished  architect,  which  is  now  one  of  the 
features  of  Piccadilly. 

The  Institute  has,  during  the  last  few  years,  been  rich  in  figure-subjects.  Its  president, 
Mr.  James  Linton,  is  one  of  the  most  eminent  figure-painters  of  the  English  school.  He 


No.  613.  “ Priscilla."  James  D.  Linton,  President. 

is  an  exquisite  draughtsman,  but  above  all  a draughtsman  of  the  figure  in  picturesque  cos- 
tume, and  he  is  a most  rich  and  harmonious  colorist.  Some  appreciative  critics  ol  his 
work  like  him  best  when  he  is  devoted  to  a single  figure.  It  is  then,  perhaps,  that  his 
touch  is  most  faultless,  and  his  expression  of  textures,  including  the  lovely  texture  of  the 
flesh  most  irreproachable.  And  this  year  he  is  represented  by  a single  figure — the  Puritan 
“ Priscilla ,”  in  a long  gray  cloak,  and  holding  in  her  hand  what  the  Germans  call  Andachts- 


The  Water  - Color  Societies 


215 


English  Art  in  1884 


216 


No.  736.  “ Kilchurn  Castle , Loch  Awe." 


Keeley  Halswelle. 


No.  223.  “A  Sluice-Gate , Walberswick.”  Thomas  Pane. 


The  Water  - Color  Societies 


217 


buck — a book  of  piety.  Alas!  the  maiden  herself  by  temperament  is  less  pious,  or,  at  all 

events,  less  austere  than  her  guise.  Like  Mr.  Abbey’s  heroines,  she  is  Puritan  more  by 


No.  848.  “A  Shattered  Veteran .”  J.  W.  Whymper. 


raiment  than  by  blood.  In  her  temperament  there  is  the  love  of  this  life.  But  who  shall 
say  that  her  character  is  not  natural  ? This  beautiful  little  drawing  hung,  in  the  exhibition, 
almost  on  the  spot  where  hung  last  year  the  president’s  greater  design — the  now  famous 
“Admonition'.' 


No.  1032.  “ Yeldham  Hall , Essex.”  Charles  Earle,  R.  I. 


Opposite  to  it,  and,  like  it,  almost  in  the  center  of  a wall  of  the  middle  room,  one  saw 
what  is  almost,  if  it  is  not  quite,  the  greatest  of  contemporary  landscape-work  in  water-color 
— Mr.  Thomas  Collier’s  contribution,  “ The  New  Forest .”  T he  forest,  as  Mr.  Collier  loves 


28 


English  Art  in  1884. 


218 


it,  is  not  a mass  of  closely  planted  trees,  but  rather  a stretch  of  upland  and  open  country, 
with  the  heather  upon  it,  and,  down  away  in  the  hollow,  a few  writhing  oak-trees  and 
some  squatters’  cottages,  and  over  all  the  passing  clouds,  gray  and  silvery,  of  a sky,  of 
wind,  and  of  shower.  Mr.  Thomas  Collier  is  a man  of  middle  age,  who,  in  the  eyes  of 
those  who  understand  art  best,  has  reached  the  summit  of  his  profession.  He  is  one  of  the 
purest  of  water-color  painters,  and  the  seeming  economy  of  his  method  is  an  economy  that 
is  sparing  only  of  touches,  and  is  never  sparing  of  time.  For  in  truth  he  is  a slow  worker. 


No.  683.  “The  Queen  of  the  Night."  G.  S.  Walters. 

He  exhibits  but  few  drawings,  and  the  subjects  of  these  are  generally  confined  to  the  open 
country.  If  it  is  not  a heath,  it  must  be  a flattish  shore;  it  must  be  somewhere  where  the 
sky  is  wide  and  the  air  infinite. 

Mr.  Harry  Hine  is  a landscape-painter,  not  less  eminent  than  Mr.  Collier.  He  is  a 
veteran,  and  was  already  in  manhood  when  David  Cox  and  Peter  Dewint  were  doing  their 
best  work.  But  his  own  labor,  unlike  that  of  Thomas  Collier,  betrays  little  of  their  influ- 
ence. If  he  was  influenced  at  all,  he  was  influenced  by  Copley  Fielding,  whose  subjects, 
like  his  own,  were  subjects  of  Sussex — who,  like  Hine,  was  a painter  of  the  Downs.  Mr. 
Hine  had  six  drawings  in  the  gallery  of  the  Institute  this  year,  but  none  of  them  easily 


The  Water  -Color  Societies 


219 


220 


English  Art  in  1884 


The  Water  - Color  Societies. 


22  1 


reproduced  in  a sketch  in  black  and  white.  One  was  a vision  of  the  stormy  sea,  as  unlike 
his  habitual  themes  as  was  his  “ Front  of  Old  Brighton ” in  the  show  of  last  season.  He  is 
fond  of  displaying  variety  and  versatility.  But  it  is  upon  the  Downs — the  chalk  Downs  of 
a golden  September — that  he  is  in  truth  most  at  home.  “ Lewes  from  the  London  Road ” 
was  his  great  Down-drawing  this  year.  “ Evening ” and  “Dawn"  were  also  studies  in  the 
country  that  is  most  truly  his.  In  his  work  all  is  harmony,  unity  of  impression.  The 


I 


No.  230.  “Encore.''  G.  G.  Kilburne. 


objects  represented  are  few.  There  are  a flock  of  sheep,  a shepherd,  perhaps,  a track  over 
the  grass,  and  a wind-bent  thorn-tree ; further,  a turn  and  fold  of  the  Downs,  and  an  always 
placid  and  spacious  sky. 

Mr.  Whymper  and  Mr.  Keeley  Halswelle  are  painters  of  a landscape  that  is  more  dra- 
matic and  more  immediately  striking;  Mr.  Mogford  is  picturesque,  Mr.  Orrock  sturdy  and 
downright ; and  the  Institute  has  lately  been  joined  by  younger  men — some  of  them  paint- 


222 


English  Art  in  1884 


ers  in  oil  for  the  most  part — who  contribute  to  the  variety  and  popularity  of  the  exhibition. 
But  many  of  these  men— Mr.  Colin  Hunter  is  a type  of  them — are  more  properly  discussed 
in  the  section  devoted  to  the  Royal  Academy,  where  their  most  important  labor  makes  its 
appearance.  The  Institute  has  several  spirited  painters  of  the  sea,  or  of  marine  and  river 


No.  1073.  “ The  End  of  the  Skating."  Towneley  Green. 


subjects.  Mr.  Hayes  is  one  of  the  elder  of  these,  and  Mr.  Wyllie  one  of  the  younger. 
Edwin  Hayes  has  long  been  a painter  of  “dirty”  weather,  of  a troubled  sea  in  autumn,  of 
luggers  finding  it  hard  to  make  for  a port,  and  of  bulky  and  weighty  waters  that  might 
shatter  feeble  craft.  The  barge  and  the  bargee  are  favorite  themes  of  Mr.  Wyllie’s,  and  the 


The  Water  -Color  Societies 


223 


waters  of  the  Thames  near  London  and  the  flat  shores — the  horizontal  line  broken  here 
and  there  by  the  tall  chimney  of  a cement-works.  But  a characteristic  drawing,  too,  is  that 
which  is  reproduced  in  the  sketch,  “ The  Funeral  March  of  a Hero  ” (page  219).  There  is 


No.  22.  “ The  President  of  the  Royal  Institute  of  Painters  in  Water-Colors.”  T.  Walter  Wilson,  R.  I. 


little  fault  to  find  with  it,  but  that  it  recalls  too  closely  the  famous  Turner,  “The  Fighting 
Temeraire  tugged  to  its  Last  Resting-place.” 

Generally  speaking,  it  is  a merit  of  Mr.  Wyllie’s  to  have  discovered  the  picturesque  ele- 
ments in  subjects  we  often  deem  commonplace.  With  that  keen  vision  and  firm  hand  of 


224 


English  Art  in  1884 


No.  1071.  '"He  giveth  his  beloved  sleep  ” ( Psalm  cxxvii,  2).  Henry  J.  Stock 


The  Water  - Color  Societies. 


225 


his  he  can  make  such  subjects  interesting ; but  of  course  he  can  never  give  them  distinction 
and  elegance.  He  is  a painter  of  the  work-a-day  world.  Now,  a contemporary  of  his 
comparatively  young— both  men  would  seem  to  be  between  thirty  and  forty — is  a painter, 
above  all  things,  of  subjects  which  are  elegant  and  distinguished  to  begin  with,  but  upon 
which  his  art  of  composition  and  his  magic  of  color  can  bestow  an  added  grace.  This  is 
Mr.  John  Fulleylove,  whose  “ Three  Graces"  and  “ The  Dial"  are  sufficiently  characteristic 
examples  of  his  drawings  of  quaint  or  stately  gardens — Renaissance  gardens  in  which  the 
forms  of  nature  are  subdued  to  the  service  of  art.  He  is  the  painter  of  the  statue,  the 
terrace,  and  the  fountain  ; of  the  row  of  garden-lilies  and  of  the  clipped  yew-trees.  Such 


No.  571.  “ The  Garland."  Edith  Martineau. 


work  has  the  poetry,  not  indeed  of  passion  any  more  than  of  simplicity,  but  at  least  of 
quietude  and  dignity.  And  Mr.  Elgood,  who  is  Mr.  Fulleylove’s  kinsman,  follows  Mr. 
Fulleylove  in  the  themes  of  his  work.  But  his  method  is  less  severe ; he  condescends  more 
to  detail  ; he  is  more  obviously  pretty.  The  influence  of  the  smaller  designs  of  Frederick 
Walker,  and  of  certain  dainty  labor  of  Mrs.  Allingham,  is  perceptible. 

A year  or  two  ago  Mr.  Walter  Langley,  a young  Birmingham  artist,  who  had  hardly 
before  that  time  been  heard  of,  sent  to  the  Dudley  Gallery  in  London  some  drawings  of 
Cornish  peasantry  and  fisher-folk  which  arrested  much  attention.  Until  just  now,  in  the  pict- 
ure before  us,  Mr.  Walter  Langley  has  continued  in  the  pursuit  of  the  same  theme;  but  this 
year  he  is  more  dramatic,  and  “ Among  the  Missing ” has  made  a distinct  mark.  It  is  one 


29 


226 


English  Art  in  1884.. 


of  the  merits  of  the  picture  that  it  tells  its  own  story  with  directness  and  intelligibility. 
A crowd — they  are  all  that  are  left  at  home  in  the  fishing-village — gather  round  the  post- 
office  for  news,  after  stormy  weather,  of  those  that  put  to  sea.  For  some  the  news  is  reas- 
suring— their  friends  will  return — but  the  man  who  is  dearest  to  this  one  in  the  foreground 
will  never  come  back.  The  young  wife,  or  the  sweetheart,  is  led  away  by  some  elder  com- 
panion, but  the  tempest  of  her  grief  has  broken  upon  her. 

The  expression  of  passion  lies  perhaps  at  Mr.  Walter  Langley’s  command.  Let  us  hope 
that  he  will  exercise  his  gift  with  discretion  as  well  as  with  sincerity,  for  English  art  has 


No.  636.  UA  Fairy  Tale."  G.  A.  Storey,  A.  R.  A. 


need  of  the  presence  of  it.  It  is  a gift  that  is  hardly  so  much  as  sought  for  by  several  of 
the  most  accomplished  of  our  figure-draughtsmen — by  Mr.  Charles  Green,  for  instance,  and 
Mr.  E.  J.  Gregory.  Charles  Green,  like  William  Small,  is  known  best  of  all  as  an  illus- 
trator. The  London  illustrated  newspapers  owe  much  of  their  charm  to  these  artists’ 
designs.  Charles  Green  draws  correctly  and  with  dainty  expressiveness,  and  he  has  an 
almost  unexampled  command  over  the  quaintest  and  sometimes  the  simplest  types  of  Eng- 
lish middle-class  character.  “ Tom  Pinch  and  Riith"  shows,  I hope,  to  the  reader  of  these 


The  Water  - Color  Societies 


227 


No.  679.  “ Returning  from  Market , Connemara .”  W.  Small. 


No.  570.  '"Pigtails  and  Powder."  Frank.  Dadd,  R.  I 


■ ' 


228 


English  Art  in  1884. 


lines  something  of  his  charm.  But  many  of  the  designs  of  Mr.  Green,  exhibited  from  year 
to  year  at  the  Institute,  are  not  illustrations  at  all,  but  are  pure  inventions.  Like  most 
artists  of  costumed  figure,  Mr.  Green  has  a period  which  he  particularly  affects.  He  knows 
the  whole  of  the  eighteenth  century,  from  the  youth  of  Hogarth  to  the  old  age  of  Sir 


Joshua.  But  the  time  that  he  has  “invented,”  so  to  say — the  time  that  he  has  brought  into 
fashion — is  that  of  the  Directory  and  of  the  First  Empire.  He  has  an  equal  feeling  for 
humor  and  for  grace.  His  humor  is  never  exaggerated,  and  his  grace  is  never  softened  to 
effeminacy. 

To  turn  to  Mr.  E.  J.  Gregory',  my  own  view  of  him — and  I have  had  the  opportunity 
of  expressing  it  at  length  in  a recent  article  in  “The  Magazine  of  Art” — is  that  he  is  one 
of  the  very  foremost  of  the  artists  of  our  day,  and  a man  who  has  accepted  his  own  time 
frankly  and  with  heartiness.  Like  Mr.  Wyllie,  he  is  possessed  by  the  charm  of  the  actual. 
He  calls  nothing  common  nor  unclean — hardly  even  does  he  call  anything  commonplace. 
He  makes  the  commonplace  interesting.  And  he  is  even  modern  of  the  moderns.  He 
does  not  disdain  the  house-boat  nor  the  tricycle,  and  the  flounced  modern  figure  lies  beau- 


The  Water -Color  Societies. 


229 


tifully  for  him  in  the  garden  hammock.  This  year  the  Institute  shows  three  quite  charming 
and  widely  varying  works  from  his  hand.  One  of  them  is  a portrait  of  himself,  called  “ A 
Look  at  the  Model'.'  It  is  painted  for  Mr.  C.  j.  Galloway,  of  Manchester,  who  is  the  fortu- 
nate owner  of  a whole  gallery  of  Gregorys.  Then  there  is  the  tricycle-drawing  and  the  ham- 
mock-drawing. A very  favorite  little  model  of  this  artist’s — Mr.  Gregory’s  own  sister-in-law — 
rides  on  the  tricycle,  in  one,  and,  in  the  other,  rests  in  the  hammock.  The  hammock-drawing 
has  the  finish  of  a Meissonier;  yet  no  one  can  be  bolder  than  Mr.  Gregory  when  he  chooses. 
Gregory  is  very  great  in  the  arts  of  composition.  He  can  see  the  artistic  aspect  of  com- 


No.  677*  “ Captain  Absolute  and  Lydia  Languish."  H.  R.  Steer. 


monplace  material,  or  just  what  it  wants  to  give  it  charm.  He  has  an  extraordinary  power 
of  painting  what  he  sees.  The  question  of  interest,  as  concerns  his  future,  is,  whether  he 
will  continue  to  paint  (for  the  pleasure  of  those  few  who  can  appreciate  them)  the  artistic 
aspects  of  modern  life;  or  whether,  at  some  moment  in  his  career,  he  will  see  modern  life 


230 


English  Art  in  1884.. 


rather  from  the  dramatic  than  the  purely  artistic  side,  and  so  will  paint  a picture  which 
shall  compel  the  attention  of  the  large  public. 

Mr.  Kilburne — the  author  of  the  “ Encore ,”  sketched  on  page  221 — is  Mr.  Gregory’s 
senior  by  some  ten  or  a dozen  years,  yet  he  is  but  a middle-aged  man,  and,  if  his  work  were 
generally  or  even  often  conceived  in  a modern  spirit,  one  might  expect  very  much  from  him 
still.  I do  not  say  he  is  old-fashioned,  and  1 appreciate  the  daintiness  of  his  execution  and 
the  delicacy  of  his  sentiment.  He  paints,  generally,  the  discreet  “interiors”  of  the  well-to- 
do  or  of  the  rich.  But  in  an  “ Encore ” he  passes  a little  beyond  his  usual  themes.  The 
scene  is,  of  course,  a public  concert,  and  Mr.  Kilburne’s  heroine  is  before  the  world.  The 
conception  of  the  work  shows  the  refinement  and  good  taste  of  the  agreeable  artist  to 


No.  45.  uAn  Untidy  Corner."  Miss  Marion  Chase. 


whom  it  is  due.  And  the  drawing  is  very  graceful.  Yet  Mr.  E.  J.  Gregory  certainly — and 
perhaps  Mr.  Henshall  too — would  have  somehow  found  the  occasion  for  displaying,  in  the 
treatment  of  that  theme,  a more  learned  art  of  composition.  Like  Mr.  Henshall’s  somewhat 
kindred  drawing  at  the  gallery  of  the  society — which  I have  already  spoken  of — the  scale 
is  unusually  large  for  work  in  water-colors. 

Another  large  and  in  some  respects  important  drawing  in  the  same  room  as  Mr.  Kil- 
burne’s— the  first  of  the  three  rooms  which  the  Institute  employs — was  Mr.  Towneley 
Green’s  “Good-by”  Towneley  Green  is  Charles  Green’s  younger  brother,  and  an  artist  of 
less  marked  individuality,  of  less  piquant  humor,  than  the  painter  of  “ Tom  Pinch  and 
Ruth ,”  in  the  exhibition  under  notice,  and  of  the  yet  more  admirable  “ Oranges , Apples , and 


The  Water  - Color  Societies 


231 


No.  176.  “ The  Old  Wellesley.”  C.  E.  Holloway. 


Bill  o'  the  Play','  of  last  year’s  show.  But  Towneley  Green  has  nevertheless  a quiet  indi- 
viduality of  his  own,  and,  if  he  is  a less  certain  and  a less  subtile  draughtsman  than  his 
brother,  he  is  at  times  a sweeter  colorist.  A good  example  of  his  style  is  shown  in  the 


accompanying  sketch  (No.  1073,  page  222).  His  other  picture,  “A  Good-by','  depicts  the 
parting  between  guests  and  hostess  at  the  gate  of  a country  house. 

Perhaps  the  last  figure-picture  of  modern  life  which  it  is  necessary  to  speak  about  is 


232 


English  Art  in  1884. 


Mr.  Walter  Wilson’s  portrait  of  the  president  in  his  studio  (page  223).  It  is  a present 
from  the  artist  to  the  body  of  which  he  is  a member,  and  is  a most  worthy  and  refined 
record  of  the  painter  whom  it  celebrates.  The  gesture  is  extremely  characteristic,  and  the 
likeness  excellent.  The  unobtrusiveness  of  the  method  of  treatment  is  as  memorable  as  the 


No.  516.  “ The  Lord  of  the  Glen."  J.  MacWhirter. 


verisimilitude  of  the  portrait.  All  is  in  a low  key:  the  studio,  with  its  little  gallery,  the 
suits  of  armor — for  Mr.  Linton  is  a connoisseur  and  a collector  of  armor — the  gray  tapes- 
tries, the  easel,  and  the  picture  thereupon.  It  would  have  been  very  easy  to  make  a draw- 
ing ffiat  would  be  more  striking ; but  difficult,  perhaps,  to  produce  a portrait  that  would 

be  more  satisfactory,, 


The  Water  - Color  Societies 


233 


No.  880.  “ Highland  Drovers  resting  after  the  Day's  Journey." 


John  J.  Richardson. 


30 


23\ 


English  Art  in  1884. 


A little  group  of  painters  belonging  to  the  Institute— Mr.  Walter  Crane,  Mr.  Spencer 
Stanhope,  and  Mr.  II.  J.  Stock,  are  among  them — are  faithful  generally  to  the  “ideal”  and 
the  symbolic.  But  Mr.  Crane’s  “ A Diver"  is  this  year  a frank  vision  of  a nude  male  figure 
plunging  into  the  transparent  depths,  and  it  is  drawn  with  greater  force  and  with  greater 
spirit  than  Mr.  Crane  is  apt  to  bestow  on  his  habitually  tender  design.  Mr.  H.  J.  Stock 


No.  248.  “ Tour  d' Horloge,  Place  de  1' Hotel  de  Ville,  Auxerre.”  L.  J.  Wood. 


exhibits  four  pictures,  one  of  which  we  have  sketched  (No.  107T,  page  224).  In  No.  399 
he  has  engaged  in  the  extraordinary  task  of  attempting  to  realize  with  the  brush  and  the 
sponge  the  following  not  very  intelligible  passage  from  the  “ Sartor  Resartus" : “Thus,  in 
the  conducting  medium  of  Fantasy,  flames  forth  that  fire — development  of  the  universal 
Spiritual  Electricity — which,  as  unfolded  between  Man  and  Woman,  we  first  emphatically 
denominate  Love.”  There  are  those,  no  doubt,  who  can  follow  his  interpretation  of  this 
obscure  text.  For  me,  the  text  and  the  interpretation  are  alike  too  elevated.  I can  not 
grasp,  I can  not  attain  unto  them.  Nor  is  the  uncontrolled  idealism  of  Mr.  Spencer  Stan- 
hope— and  his  equally  uncontrolled  draughtsmanship — any  more  engaging.  There  is  here, 
indeed,  an  amiable  persistency  in  feebleness — a perseverance  in  unwarranted  ambition — which 
ends  only  by  irritating. 


The  Water  - Color  Societies. 


235 


It  seems  a relief  to  pass  from  a presentation  of  unpresentable  things  to  the  Old-World 
grace  of  Mr.  Abbey,  as  it  was  shown  in  “A  Bible-  Reading'.'  Never  surely  was  there 
depicted,  with  more  of  tranquil  humor,  or  with  keener  sense  of  the  picturesque  and  the 
delicate,  a Puritan  household  in  which  there  is  a mingling  of  the  comely  and  the  quaint. 
It  is  a pious  exercise,  but  gloom  by  no  means  envelops  the  family  circle.  Mr.  Abbey  has 
but  to  acquire  a more  complete  command  of  the  resources  of  color  to  insure  for  the  origi- 
nal drawing,  as  well  as  he  may  now  insure  for  the  black-and-white  of  the  reproduction,  a 
wide  popularity  for  such  design  as  this. 

We  need  not  mention  in  much  detail  the  drawings  of  Mr.  Small  and  Mr.  Staniland,  but 
their  names  can  hardly  be  omitted.  Mr.  Staniland  is  very  unequal.  He  is  apt  now  to 


No.  365.  “A  Glimpse  of  the  Clyde  from  above  Helensburgh.'''  Alfred  East. 


attract  and  now  to  repel,  and  what  would  probably  be  accounted  his  most  important  con- 
tribution to  this  summer’s  exhibition  of  the  Institute  was  a drawing  in  which  the  Gretchen 
of  “Faust”  was  presented  without  refinement  or  poetry: 


“ Bin  weder  Fraiilein,  weder  schon , 
Kann  ungeleitet  nach  Hanse  gehen  ” — 


236 


English  Art  in  1884. 


Gretchen  says,  undoubtedly,  but  she  need  not  have  been  wanting  in  attractiveness  because 
she  was  not  a lady,  nor  in  refinement  because  she  did  not  reckon  herself  beautiful.  Mr. 
Small,  who,  like  Mr.  Staniland,  was  not  seen  quite  at  his  best,  is  a very  successful  illus- 
trator. His  illustrations  have  bestowed  a momentary  interest  on  more  than  one  impossible 
story  in  the  “ Cornhill  Magazine,”  and  his  designs  for  the  edition  de  luxe  of  Fielding — 
whatever  they  have  lacked— have  shown  fertility  of  resource  and  freedom  of  handling  in 
water-color. 

Mr.  Clausen,  again,  is  another  artist  who  has  before  now  pleased  us  more  thoroughly 
than  during  the  present  year.  This  year  he  has  been,  perhaps,  a little  deficient  in  individu- 


No.  748.  “Waiting.”  C.  J.  Lewis. 


ality.  Mr.  Bastien-Lepage  has  influenced  him  too  much.  But  Mr.  Clausen  is  dexterous, 
and  he  has  feeling  and  subtilty ; he  is  ingenious  as  a follower  of  other  men’s  ways,  but  he 
is  most  interesting  when  he  is  himself. 

Mr.  Frank  Dadd  and  Mr,  Steer  are  young  contributors;  the  one  attracting  attention  by 
an  almost  audacious  humor,  in  which  somehow  art  has  not  been  forgotten ; and  the  other 
winning  notice  as  a painter  of  the  picturesque  interior,  as  an  artist  alive  to  the  charm  of 
dignified  line  and  of  passing  light.  His  “ Captain  Absolute  and  Lydia  Languish”  shows, 


The  Water  - Color  Societies. 


237 


moreover,  a measure  of  the  dramatic  faculty,  if  he  has  invented  quite  all  that  he  has  por- 
trayed. But  the  illustration  of  English  classic  drama — and  Sheridan  is  a classic  indeed  ! — 
may  now  gain  much  from  the  spectacle  of  the  theatre,  and,  with  the  best  intentions  of 
originality,  it  is  hardly  possible  to  avoid  deriving  some  inspiration  from  the  ever-changing 
pictures  which  pass  before  the  foot-lights.  The  actor  is  confessedly  indebted  to  the  painter 
for  something  of  his  knowledge  of  the  outward  aspects  of  the  past  world,  and  he  repays 
the  debt  when  the  rapid  succession  of  his  significant  gestures  passes  before  the  eye  of  the 
painter,  making  him  acquainted  with  the  aspect  of  emotions  he  can  hardly  profess  to  have 
experienced. 

F.  W. 


No.  712.  “ Days  of  my  Girlhood."  Edith  Berkley. 


INDEX  TO  ARTISTS. 


PAGE 

Alma-Tadema,  L.,  r.  a 4 

Alma-Tadema,  Mrs 53 

Ansdell,  R.,  r.  a 85 

Archer,  James 69 

Armitage,  E.,  r.  a 13 

Armstead,  H.  H.,  r.  a 129 

Baden-Powell,  F 137 

Baird,  W.  B 90 

Barclay,  Edgar 52 

Barnard,  Frederick 114 

Barrable,  G.  H 1 16 

Bayes,  A.  W 71 

Beavis,  R.  . 88 

Bell,  J.,  a.  r.  a 109 

Bigland,  Percy.... 79 

Birch,  C.  B.,  a.  r.  a 13 1 

Blinks,  Thomas xiii 

Boughton,  G.  H.,  a r.  a.  . . 18,  19 

Boyle,  G 102 

Bradley,  Basil 102 

Bridgman,  F.  A 53 

Britten,  W.  E.  F 49 

Brooks,  Maria 61 

Burgess,  J.  B.,  a.  r.  a 24 


ROYAL  ACADEMY 


Calderon,  P.  Ft.,  r.  a 1 

Calderon,  W.  F 80 

Carrington,  J.  Yates 92 

Carter,  Hugh 116 

Chaplin,  A.  M 135 

Chevalier,  Nicolas 66 

Clark,  Joseph 32 

Clay,  Sir  Arthur 105 

Cole,  Yicat,  r.  a 94 

Collier,  John 1 14 

Collier,  John,  Mrs 112 

Collinson,  R 64 

Colls,  Harry 109 

Compton,  E.  T 100 

Cotman,  F.  G 1 15 

Cox,  E.  M 93 

Cox,  F.  E 83 

Craft,  P.  R 68 

Crowe,  Eyre,  a.  r.  a 23 

Davis,  H.  W.  B.,  R.  A 85 

Davis,  Val 98 

Detmold,  H.  E 62 

Dicey,  F 54 

Dicey,  Frank 91 


PAGE 


Dicksee,  Frank 

. . . . . 28 

Dillon,  Frank 

I05 

Dollman,  J.  C 

47 

Dixon,  A 

63 

East,  Alfred. 

103 

Emms,  John 

89 

Fildes,  Luke,  a r.  a.  . . . 

25 

Fletcher,  Flitcroft 

98 

Forbes,  Stanhope  A 

55 

Ford,  E.  Onslow 

132 

Fowler,  R 

Frith,  W.  P.,  r.  a 

»3 

Gilbert,  Sir  John,  r.  a... 

Glendening,  Alfred,  Jr.. 

75 

Goodall,  F.,  R.  a . 

ii 

Gourde,  Edith 

Graham,  Peter,  r.  a.  . . . 

. 107,  108 

Grossmith,  Weedon .... 

. . 64,  1 14 

Hacker,  Arthur 

49 

Halswelle,  Keeley. ..... 

95 

Hardy,  Edwin  G 

24-0 


Index  to  Artists 


PAGE 

Hardy,  F.  D. 70 

Helmich,  H 60 

Henshall,  J.  H 123 

Herkomer,  Hubert,  a.  r.  a.  . . 26 

Hey  wood,  Hardy 86,  87 

Hill,  Thomas 84 

Hillingford,  Robert 51 

Hindley,  G.  C 81,  82 

Hipkins,  E 75 

Horsley,  J.  C.,  R.  a 10 

Horsley,  Walter  C 39 

Hunt,  Walter 91 

Hunter,  Colin v 

Hutchison,  G.  W.  C 47 

Hutchison,  R.  G . . . . 75 

Jacomb-Hood,  G.  P 36 

Jarvis,  Matthew 125 

Johnson,  C.  E 100 

Joy,  Bruce  A 135,  136 

Joy,  G.  W 52 

Kennedy,  E.  S 56 

Langdale,  M.  A 106 

Langham,  J 127 

Lawson,  F.  W 58 

Lawson,  G.  A 133 

Leader,  B.  W.,  a.  r.  a 96 

Ledward,  R.  A 138 

Lee,  Sidney  W 59 

Lehmann,  R hi 

Leighton,  Sir  Frederick,  p.r.  a.  2 

Leighton,  E.  Blair 50 

Linton,  J.  D 34 

Long,  E.,  R.  a.. ...  12 

Loudan,  W.  M 120 

Lucas,  Seymour 30 

Lyndon,  Herbert 125 

Macbeth,  Robert  W.,  a.  r.  a..  29 

Macgregor,  Jessie 67 

McLachlan,  T.  Hope 106 


PAGE 


Macnab,  Peter 

41 

McWhirter,  J.,  a.  r.  a..  . . 

. . . . 99 

Marks,  H.  S.,  r.  a 

14 

Martin,  F 

Merritt,  Anna  Lea 

• • • • 45 

Merrick,  E.  M 

■ ■ • 59 

Millais,  1.  E.,  R.  a 

3 

Moore,  Henry 

Montaigne,  W.  1 

Montalba,  H.  S 

• • *35 

Montalba,  Hilda 

• • ■ 33 

Montefiore,  E.  B.  S 

....  89 

Morgan,  Frederick 

36,  112 

Morris,  P.  R.,  a.  r.  a.  . . . 

. . . . 20 

Muckley,  M.  J 

. . . . xi 

Mullins,  E.  R 

. . . . 134 

Murray,  David 

. ...  105 

Natorp,  G 

••••  *33 

Noble,  J.  S 

. . . . 90 

Olivier,  Herbert  A 

Orchardson,  W.  Q.,  r.  a.. 

7 

Osborn,  E.  M 

Paget,  H.  M 

78 

Partington,  J.  H.  E 

. ...  76 

Parton,  Ernest 

. . . . 97 

Peckitt,  T 

117 

Pedder,  John 

Perugini,  C.  E 

■ • ■ • 33 

Pettie,  John,  r.  a 

• • i5»  16 

Pittard,  C.  W 

....  65 

Pott,  J.  L 

• • • • 37 

Prinsep,  Val,  a.  r.  a 

. ...  27 

Rainey,  William 

. . . . 43 

Riviere,  Briton,  r.  a 

■ • 84,  85 

Robinson,  G.  C 

72 

Rossi,  A.  M 

Rouse,  R.  W.  A. 

i°3 

Sainsbury,  Everton 

••••  55 

Sant,  James,  r.  a 

PAGE 

Schafer,  H.  T 42 

Schenck,  Mrs.  A 119 

Schloesser,  Carl 46 

Schmalz,  Herbert 34 

Scott,  John 37 

Sealy,  Allen  C 103 

Sidley,  S 1 13 

Simonds,  G 134 

Solomon,  S.  J 84 

Stocks,  A 38 

Stokes,  Adrian 104 

Stone,  Marcus,  a.  r.  a 21 

Storey,  G.  A.,  a.  r.  a 22 

Strutt,  A.  W 122 

S winstead,  G.  H 77,  7 8 

Symons,  W.  C 40 

Thorburn,  Robert,  a.  r.  a..  . . 22 

Thornycroft,  Hamo,  a.  r.  a.  . . 130 
Tuck,  H 80 

Vernon,  A.  L 74 

Walker,  F.  S 73 

Waller,  S.  E 88 

Walton,  F.  104 

Warren,  Knighton in 

Waterhouse,  J.  W 31 

Waterlow,  Ernest  A 44 

Watson,  C.  J 74 

Weguelin,  J.  R 54 

Weigall,  Arthur  H 56 

Weir,  A 57 

Wetherbee,  G.  F. . . 44 

White,  John 67 

Williams,  Haynes 46 

Wills,  Edgar 71 

Wood,  J.  Warrington 133 

Woolner,  T.,  r.  a 129 

Wyllie,  W.  L 105,  107 

Yeames,  W.  F.,  r.  a 9 

Yglesias,  V.  P 101 


Index  to  Artists. 


241 


Allan,  Robert  W 154 

Alma-Tadema,  I, 139 

Alma-Tadema,  Mrs 154 

Barclay,  Edgar 151 

Bartlett,  W.  H 145 

Bates,  David 170 

Berkley,  Edith 170 

Berkley,  Stanley 170 

Britten,  W.  E.  F 145 

Brown,  Peploe 172 

Browning,  R.  Barrett....  171,  172 

Calderon,  P.  H 144 

Carr,  David 149 

Collier,  John 158 

Collier,  Mrs.  John . . . . 144 

Crane,  Walter 143 

Donaldson,  A.  B 169 

Ellis,  Tristram  169 

Emms,  J. 153 

Fahey,  E.  H 150,  167 

Farrer,  T.  C 168 

Fisher,  Mark 163 


GROSVENOR  GALLERY. 


Grossmith,  Weedon 161 

Hall,  Sidney  P 153 

Halle,  C.  E 156 

Halswelle,  Keeley,  a.  r.  s.  a.  164 

Henry,  C.  Napier 165 

Hennessy,  W.  J 148 

Hetherington,  1 167 

Holloway,  C.  E 167 

Hughes,  W 153 

Jacomb-Hood,  J.  P 149 

Jay,  W.  S 164 

Lehmann,  Rudolf 157 

Lemon,  Arthur 15 1 

Macallum,  H 165 

Macbeth,  R.  W.,  a.  r.  a 147 

Maclean,  T.  Nelson 171 

Merritt,  A.  L.,  Mrs 159 

Millais,  J.  E.,  a.  r.  a 155 

Moore,  Henry 164 

Montalba,  Clara 162 


Montalba,  Henrietta 172 

Moscheles,  F 160 

Murray,  David,  a.  r.  s.  a.  . . . 166 

Orchardson,  W.  Q.,  r.  a 146 

Osborne,  Miss  E.  M 159 

Paget,  Mrs.  H.  M 160 

Parsons,  Alfred 163 

Prinsep,  Val,  a.  r.  a 158 

Reid,  J.  R 152 

Reid,  Miss  Flora  M 152 

Reid,  Miss  Lizzie 152 

Smallfield,  F 15 1 

Smart,  J 167 

Stanhope,  R.  Spencer 142 

Thornycroft,  Hamo,  a.  r.  a.  . 171 
Topharn,  F.  W.  W 166 

Waterlow,  E.  A 164 

Weguelin,  J.  R 145 

Williams,  Haynes 150 


INSTITUTE  OF  PAINTERS  IN  OIL-COLORS. 


Alma-Tadema,  L.,  r.  a 177 

Alma-Tadema,  Mrs 178 

Brown,  Frederick 173 

Cameron,  Hugh,  m 182 

Carter,  Samuel,  m 192 

Cattermole,  Charles,  r.  i.,  m.  . 190 

Clark,  J.,  M 187 

Cotman,  F.  G.,  r.  1.,  m 188 

Crofts,  Ernest,  a.  r.  a 190 


Gregory,  E.  J.,  a.  r.  a.,  r.  i.,  m.  182 

Hodgson,  J.  E.,  r.  a 174 

Kilburne,  G.  G.,  R.  1.,  m 190 

Lintz,  E 182 

Long,  Edwin,  r.  a 179 

Macbeth,  R.  W.,  a.  r.  a 185 

Millet,  Francis  D 185 

Morris,  Philip,  a.  r.  a 180 


Parsons,  Alfred,  R.  1.,  M 184 

Pettie,  J.,  R.  a 176 

Scott,  John 19 1 

Small,  W 186 

Staniland,  C.  J.,  R.  1.,  m 189 

Wells,  Henry  T.,  r.  a 174 

Williams,  Haynes,  M 190 

Woods,  H.,  a.  r.  a 181 

Woodville,  R.  C.,  R.  1.,  m.  . . . 183 


31 


242 


Index  10  Artists. 


THE  WATER-COLOR  SOCIETIES. 


PAGE 


Alma-Tadema,  L.,  r.  a.  . 

209 

Barnes,  R 

Beavis,  R 

Berkley,  Edith 

237 

Bradley,  Basil 

*95 

Brierly,  Oswald  W 

:99 

Buckman,  E 

19S,  207 

Cattermole,  Charles . . . . 

213 

Chase,  Marion 

. ...  230 

Collier,  Thomas,  r.  1. . . . 

215 

Crane,  Walter 

Dadd,  Frank,  r.  1 

2 0 *1 

Dadd,  S.  T 

231 

Earle,  Charles,  r.  i 

East,  Alfred . . , 

235 

Fulleylove,  J.,  R.  1 ..... . 

219 

Gilbert,  Sir  John,  r.  a . . 

196 

Goodall,  E.  A 

197 

PAGE 

Green,  Charles.... 220 

Green,  Towneley 222 

Gregory,  Charles 202 

Halswelle,  Keeley 216 

Henshall,  J.  H 21 1 

Hodson,  Samuel  J 204 

Holloway,  C.  E 231 

Hopkins,  A 206 

Huson,  T 233 

Johnson,  E.  K 194 

Kilburne,  G.  G 221 

King,  H 228 

Langley,  Walter 220 

Lewis,  C.  J 236 

Linton,  J.  D 214 

Lockhart,  W.  E.,  r.  s a 205 

MacWhirter,  J 232 

Marshall,  Herbert  M 204 

Martineau,  Edith 225 

Montalba,  Clara. 205 


Orrock,  James 215 

Pilsbury,  Wilmot ...  200 

Pyne,  Thomas. 216 

Radford,  Edward 210 

Richardson,  J.  J 233 

Small,  W 227 

Smallfield,  F 208 

Steer,  H.  R 229 

Stock,  Henry  J 224 

Storey,  G.  A.,  a.  r.  a 226 

Tayler,  Frederick 208 

Tayler,  Norman 203 

Thomas,  W.  L.,  r.  1 212 

Walters,  G.  S 218 

Whymper,  J.  W 217 

Wilson,  T.  Walter,  r.  1 223 

Wood,  L.  J 234 

Wyllie,  W.  L 219 


No.  215.  “ Alice  in  Wonderland."  Patnick  W.  Adam. 


. 


' 


